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education</title> <meta name="description" content="Search results for: music education"> <meta name="keywords" content="music education"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="music education"> <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> 7715</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: music education</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7505</span> Sounds of Power: An Ethnoorganological Approach to Understanding Colonial Music Culture in the Peruvian Andes</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Natascha%20Reich">Natascha Reich</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In colonial Peru, the Spanish crown relied on religious orders, most notably Dominicans, Franciscans, and Jesuits, for accelerating processes of colonization. The dissemination of Christian art, architecture, and music, and most of all, the agency of indigenous people in their production played a key role in facilitating the acceptance of the new religious and political system. Current research on Peruvian colonial music culture and its role as a vehicle for colonization focus on practices in urban centers. The lack of (written) primary sources seems to turn rural areas into a less attractive research territory for musicologists. This paper advocates for a more inclusive approach. By investigating seventeenth-century pipe organs as material remains of Franciscan missionary music culture, it shows how reactions to colonial forces and Christianization in rural Andean locations could follow tendencies different from those in urban areas. Indigenous musicians in cities tried to 'fit' into the European system in order to be accepted by the ruling Spanish elite. By contrast, the indigenous-built pipe organs in the rural Peruvian Colca-Valley show distinctly native-Andean influences. This paper argues that this syncretism can be interpreted as hybridity in Homi K. Bhabha’s sense, as a means of the colonized to undermine the power of the colonizer and to advance reactionary politics. Not only will it show the necessity of considering rural Peruvian music history in modern scholarship for arriving at a more complete picture of colonial culture, but it will also evidence the advantages of a mixed-methodology approach. Historical organology, combined with concepts from ethnomusicology and post-colonial studies, proves as a useful tool in the absence or scarcity of written primary sources. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20hybridity" title="cultural hybridity">cultural hybridity</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20as%20reactionary%20politics" title=" music as reactionary politics"> music as reactionary politics</a>, <a href="https://publications.waset.org/abstracts/search?q=Latin%20American%20pipe%20organs" title=" Latin American pipe organs"> Latin American pipe organs</a>, <a href="https://publications.waset.org/abstracts/search?q=Peruvian%20colonial%20music" title=" Peruvian colonial music"> Peruvian colonial music</a> </p> <a href="https://publications.waset.org/abstracts/123730/sounds-of-power-an-ethnoorganological-approach-to-understanding-colonial-music-culture-in-the-peruvian-andes" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/123730.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">164</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">7504</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">7503</span> Learning with Music: The Effects of Musical Tension on Long-Term Declarative Memory Formation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nawras%20Kurzom">Nawras Kurzom</a>, <a href="https://publications.waset.org/abstracts/search?q=Avi%20Mendelsohn"> Avi Mendelsohn</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The effects of background music on learning and memory are inconsistent, partly due to the intrinsic complexity and variety of music and partly to individual differences in music perception and preference. A prominent musical feature that is known to elicit strong emotional responses is musical tension. Musical tension can be brought about by building anticipation of rhythm, harmony, melody, and dynamics. Delaying the resolution of dominant-to-tonic chord progressions, as well as using dissonant harmonics, can elicit feelings of tension, which can, in turn, affect memory formation of concomitant information. The aim of the presented studies was to explore how forming declarative memory is influenced by musical tension, brought about within continuous music as well as in the form of isolated chords with varying degrees of dissonance/consonance. The effects of musical tension on long-term memory of declarative information were studied in two ways: 1) by evoking tension within continuous music pieces by delaying the release of harmonic progressions from dominant to tonic chords, and 2) by using isolated single complex chords with various degrees of dissonance/roughness. Musical tension was validated through subjective reports of tension, as well as physiological measurements of skin conductance response (SCR) and pupil dilation responses to the chords. In addition, music information retrieval (MIR) was used to quantify musical properties associated with tension and its release. Each experiment included an encoding phase, wherein individuals studied stimuli (words or images) with different musical conditions. Memory for the studied stimuli was tested 24 hours later via recognition tasks. In three separate experiments, we found positive relationships between tension perception and physiological measurements of SCR and pupil dilation. As for memory performance, we found that background music, in general, led to superior memory performance as compared to silence. We detected a trade-off effect between tension perception and memory, such that individuals who perceived musical tension as such displayed reduced memory performance for images encoded during musical tension, whereas tense music benefited memory for those who were less sensitive to the perception of musical tension. Musical tension exerts complex interactions with perception, emotional responses, and cognitive performance on individuals with and without musical training. Delineating the conditions and mechanisms that underlie the interactions between musical tension and memory can benefit our understanding of musical perception at large and the diverse effects that music has on ongoing processing of declarative information. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=musical%20tension" title="musical tension">musical tension</a>, <a href="https://publications.waset.org/abstracts/search?q=declarative%20memory" title=" declarative memory"> declarative memory</a>, <a href="https://publications.waset.org/abstracts/search?q=learning%20and%20memory" title=" learning and memory"> learning and memory</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20perception" title=" musical perception"> musical perception</a> </p> <a href="https://publications.waset.org/abstracts/168139/learning-with-music-the-effects-of-musical-tension-on-long-term-declarative-memory-formation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/168139.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">98</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7502</span> Perception of Eco-Music From the Contents the Earth’s Sound Ecosystem</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Joni%20Asitashvili">Joni Asitashvili</a>, <a href="https://publications.waset.org/abstracts/search?q=Eka%20Chabashvili"> Eka Chabashvili</a>, <a href="https://publications.waset.org/abstracts/search?q=Maya%20Virsaladze"> Maya Virsaladze</a>, <a href="https://publications.waset.org/abstracts/search?q=Alexander%20Chokhonelidze"> Alexander Chokhonelidze</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Studying the soundscape is a major challenge in many countries of the civilized world today. The sound environment and music itself are part of the Earth's ecosystem. Therefore, researching its positive or negative impact is important for a clean and healthy environment. The acoustics of nature gave people many musical ideas, and people enriched musical features and performance skills with the ability to imitate the surrounding sound. For example, a population surrounded by mountains invented the technique of antiphonal singing, which mimics the effect of an echo. Canadian composer Raymond Murray Schafer viewed the world as a kind of musical instrument with ever-renewing tuning. He coined the term "Soundscape" as a name of a natural environmental sound, including the sound field of the Earth. It can be said that from which the “music of nature” is constructed. In the 21st century, a new field–Ecomusicology–has emerged in the field of musical art to study the sound ecosystem and various issues related to it. Ecomusicology considers the interconnections between music, culture, and nature–According to the Aaron Allen. Eco-music is a field of ecomusicology concerning with the depiction and realization of practical processes using modern composition techniques. Finding an artificial sound source (instrumental or electronic) for the piece that will blend into the soundscape of Sound Oases. Creating a composition, which sounds in harmony with the vibrations of human, nature, environment, and micro- macrocosm as a whole; Currently, we are exploring the ambient sound of the Georgian urban and suburban environment to discover “Sound Oases" and compose Eco-music works. We called “Sound Oases" an environment with a specific sound of the ecosystem to use in the musical piece as an instrument. The most interesting examples of Eco-music are the round dances, which were already created in the BC era. In round dances people would feel the united energy. This urge to get united revealed itself in our age too, manifesting itself in a variety of social media. The virtual world, however, is not enough for a healthy interaction; we created plan of “contemporary round dance” in sound oasis, found during expedition in Georgian caves, where people interacted with cave's soundscape and eco-music, they feel each other sharing energy and listen to earth sound. This project could be considered a contemporary round dance, a long improvisation, particular type of art therapy, where everyone can participate in an artistic process. We would like to present research result of our eco-music experimental performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=eco-music" title="eco-music">eco-music</a>, <a href="https://publications.waset.org/abstracts/search?q=environment" title=" environment"> environment</a>, <a href="https://publications.waset.org/abstracts/search?q=sound" title=" sound"> sound</a>, <a href="https://publications.waset.org/abstracts/search?q=oasis" title=" oasis"> oasis</a> </p> <a href="https://publications.waset.org/abstracts/173544/perception-of-eco-music-from-the-contents-the-earths-sound-ecosystem" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173544.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">61</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7501</span> The Use of Themes and Variations in Early and Contemporary Juju Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olupemi%20E.%20Oludare">Olupemi E. Oludare</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper discusses the thematic structure of Yoruba popular music of Southwest Nigeria. It examines the use of themes and variations in early and contemporary Juju music. The work is an outcome of a research developed by the author in his doctoral studies at the University of Lagos, Nigeria, with the aim of analyzing the thematic and motivic developments in Yoruba popular genres. Observations, interviews, live recordings and CDs were used as methods for eliciting information. Field recordings and CDs of selected musical samples were also transcribed and notated. The research established the prevalent use of string of themes by Juju musicians as a compositional technique in moving from one musical section to another, as they communicate the verbal messages in their song. These themes consisting of the popular ‘call and response’ form found in most African music, analogous to the western ‘subject and answer’ style of the fugue or sonata form, although without the tonic–dominant relations. Due to the short and repetitive form of African melodies and rhythms, a theme is restated as a variation, where its rhythmic and melodic motifs are stylistically developed and repeated, but still retaining its recognizable core musical structure. The findings of this study showed that Juju musicians generally often employ a thematic plan where new themes are used to arrange the songs into sections, and each theme is developed into variations in order to further expand the music, eliminate monotony, and create musical aesthetics, serving as hallmark of its musical identity. The study established the musical and extra-musical attributes of the genre, while recommending further research towards analyzing the various compositional techniques employed in African popular genres. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=compositional%20techniques" title="compositional techniques">compositional techniques</a>, <a href="https://publications.waset.org/abstracts/search?q=popular%20music" title=" popular music"> popular music</a>, <a href="https://publications.waset.org/abstracts/search?q=theme%20and%20variation" title=" theme and variation"> theme and variation</a>, <a href="https://publications.waset.org/abstracts/search?q=thematic%20development" title=" thematic development"> thematic development</a> </p> <a href="https://publications.waset.org/abstracts/32009/the-use-of-themes-and-variations-in-early-and-contemporary-juju-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/32009.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">412</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">7500</span> Assessing Student Collaboration in Music Ensemble Class: From the Formulation of Grading Rubrics to Their Effective Implementation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jason%20Sah">Jason Sah</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music ensemble class is a non-traditional classroom in the sense that it is always a group effort during rehearsal. When measuring student performance ability in class, it is imperative that the grading rubric includes a collaborative skill component. Assessments that stop short of testing students' ability to make music with others undermine the group mentality by elevating individual prowess. Applying empirical and evidence-based methodology, this research develops a grading rubric that defines the criteria for assessing collaborative skill, and then explores different strategies for implementing this rubric in a timely and effective manner. Findings show that when collaborative skill is regularly tested, students gradually shift their attention from playing their own part well to sharing their part with others. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=assessment" title="assessment">assessment</a>, <a href="https://publications.waset.org/abstracts/search?q=ensemble%20class" title=" ensemble class"> ensemble class</a>, <a href="https://publications.waset.org/abstracts/search?q=grading%20rubric" title=" grading rubric"> grading rubric</a>, <a href="https://publications.waset.org/abstracts/search?q=student%20collaboration" title=" student collaboration"> student collaboration</a> </p> <a href="https://publications.waset.org/abstracts/112833/assessing-student-collaboration-in-music-ensemble-class-from-the-formulation-of-grading-rubrics-to-their-effective-implementation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/112833.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">135</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">7499</span> An Exploratory Study of the Ghanaian Music Industry: Its Impacts on the Economy and Society</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ralph%20Nyadu-Addo">Ralph Nyadu-Addo</a>, <a href="https://publications.waset.org/abstracts/search?q=Francis%20Matambalya"> Francis Matambalya</a>, <a href="https://publications.waset.org/abstracts/search?q=Utz%20Dornberger"> Utz Dornberger</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The global music industry is a multi-billion dollar sector. The potential of Africa’s music industry is widely recognised in the socio-economic development milieu. It has impacted positively on several sectors including most especially the tourism, media and information, communication technology (ICT) among others. It is becoming increasingly clear that even in Africa (as demonstrated in Nigeria) that in addition to its intrinsic value, the sector has significant economic returns. UNCTAD observed, the creative industries offer some of the best prospects for high growth in least developed countries. The statistics from Africa may be far lower than similar sectors in developed countries but it goes to give further credence to several UNCTAD publications which say the creative industry is under researched and its potential under-estimated but holds the key to its rapid development The emerging creative economy (music in particular) has become a leading component of economic growth, employment, trade, innovation, and social cohesion in many countries. In line with these developments, the Ghana government recognizes the potential that the Creative Industries have to shape and reinforce Ghana’s economic growth. Creative sectors, particularly music, tend to rely less on sophisticated infrastructure or capital-intensive investment. Potential is particularly abundant in Africa, where musical creativity is rich, diverse, well-loved, and constantly evolving while drawing on strong traditions. The development of a popular music industry thus represents low-hanging fruit for most African economies says the World Bank. As we shift towards economic diversification using the creative industry, value is increasingly created at the intersection of arts, business and technology. Cultural and creative entrepreneurs are leading this trend. It is one of the areas where value is captured within the country as emerging trends have shown in Nigeria and Ghana among others. Yet, evidence shows that the potential of the cultural and creative sectors remains largely untapped. Furthermore, its socio-economic impact remains under-researched in many developing countries and its dynamics unknown. Despite its huge influence on music repertoire across the globe, most countries in Africa have not historically been significant markets for the international music industry. Today, that is beginning to change. Generally, reliable and adequate literature about music in the sub-region is difficult to obtain. The growing interests in academia and business cycles about a reliable data on the growing music industry in developing countries have called for an urgent need to undertake this research. Research questions: i. Who are the major stakeholders in the music value chain in Ghana? ii. How much of value is captured domestically iii. What is the economic impact of the Ghanaian music industry iv. How has the advent of ICT (internet) impacted on the music landscape? Research sources will be mainly through interviews of major stakeholders, baseline study of the industry by KPMG and content analysis of related newspapers and magazines. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=economic%20impact" title="economic impact">economic impact</a>, <a href="https://publications.waset.org/abstracts/search?q=information%20communications%20technology%20%28ICT%29" title=" information communications technology (ICT)"> information communications technology (ICT)</a>, <a href="https://publications.waset.org/abstracts/search?q=music-industry" title=" music-industry"> music-industry</a>, <a href="https://publications.waset.org/abstracts/search?q=value%20chain" title=" value chain"> value chain</a> </p> <a href="https://publications.waset.org/abstracts/48593/an-exploratory-study-of-the-ghanaian-music-industry-its-impacts-on-the-economy-and-society" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/48593.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">294</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7498</span> Performance Comparison of Joint Diagonalization Structure (JDS) Method and Wideband MUSIC Method</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sandeep%20Santosh">Sandeep Santosh</a>, <a href="https://publications.waset.org/abstracts/search?q=O.%20P.%20Sahu"> O. P. Sahu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> We simulate an efficient multiple wideband and nonstationary source localization algorithm by exploiting both the non-stationarity of the signals and the array geometric information.This algorithm is based on joint diagonalization structure (JDS) of a set of short time power spectrum matrices at different time instants of each frequency bin. JDS can be used for quick and accurate multiple non-stationary source localization. The JDS algorithm is a one stage process i.e it directly searches the Direction of arrivals (DOAs) over the continuous location parameter space. The JDS method requires that the number of sensors is not less than the number of sources. By observing the simulation results, one can conclude that the JDS method can localize two sources when their difference is not less than 7 degree but the Wideband MUSIC is able to localize two sources for difference of 18 degree. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=joint%20diagonalization%20structure%20%28JDS%29" title="joint diagonalization structure (JDS)">joint diagonalization structure (JDS)</a>, <a href="https://publications.waset.org/abstracts/search?q=wideband%20direction%20of%20arrival%20%28DOA%29" title=" wideband direction of arrival (DOA)"> wideband direction of arrival (DOA)</a>, <a href="https://publications.waset.org/abstracts/search?q=wideband%20MUSIC" title=" wideband MUSIC"> wideband MUSIC</a> </p> <a href="https://publications.waset.org/abstracts/22212/performance-comparison-of-joint-diagonalization-structure-jds-method-and-wideband-music-method" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22212.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">468</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">7497</span> Attention and Memory in the Music Learning Process in Individuals with Visual Impairments</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lana%20Burmistrova">Lana Burmistrova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: The influence of visual impairments on several cognitive processes used in the music learning process is an increasingly important area in special education and cognitive musicology. Many children have several visual impairments due to the refractive errors and irreversible inhibitors. However, based on the compensatory neuroplasticity and functional reorganization, congenitally blind (CB) and early blind (EB) individuals use several areas of the occipital lobe to perceive and process auditory and tactile information. CB individuals have greater memory capacity, memory reliability, and less false memory mechanisms are used while executing several tasks, they have better working memory (WM) and short-term memory (STM). Blind individuals use several strategies while executing tactile and working memory n-back tasks: verbalization strategy (mental recall), tactile strategy (tactile recall) and combined strategies. Methods and design: The aim of the pilot study was to substantiate similar tendencies while executing attention, memory and combined auditory tasks in blind and sighted individuals constructed for this study, and to investigate attention, memory and combined mechanisms used in the music learning process. For this study eight (n=8) blind and eight (n=8) sighted individuals aged 13-20 were chosen. All respondents had more than five years music performance and music learning experience. In the attention task, all respondents had to identify pitch changes in tonal and randomized melodic pairs. The memory task was based on the mismatch negativity (MMN) proportion theory: 80 percent standard (not changed) and 20 percent deviant (changed) stimuli (sequences). Every sequence was named (na-na, ra-ra, za-za) and several items (pencil, spoon, tealight) were assigned for each sequence. Respondents had to recall the sequences, to associate them with the item and to detect possible changes. While executing the combined task, all respondents had to focus attention on the pitch changes and had to detect and describe these during the recall. Results and conclusion: The results support specific features in CB and EB, and similarities between late blind (LB) and sighted individuals. While executing attention and memory tasks, it was possible to observe the tendency in CB and EB by using more precise execution tactics and usage of more advanced periodic memory, while focusing on auditory and tactile stimuli. While executing memory and combined tasks, CB and EB individuals used passive working memory to recall standard sequences, active working memory to recall deviant sequences and combined strategies. Based on the observation results, assessment of blind respondents and recording specifics, following attention and memory correlations were identified: reflective attention and STM, reflective attention and periodic memory, auditory attention and WM, tactile attention and WM, auditory tactile attention and STM. The results and the summary of findings highlight the attention and memory features used in the music learning process in the context of blindness, and the tendency of the several attention and memory types correlated based on the task, strategy and individual features. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=attention" title="attention">attention</a>, <a href="https://publications.waset.org/abstracts/search?q=blindness" title=" blindness"> blindness</a>, <a href="https://publications.waset.org/abstracts/search?q=memory" title=" memory"> memory</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20learning" title=" music learning"> music learning</a>, <a href="https://publications.waset.org/abstracts/search?q=strategy" title=" strategy"> strategy</a> </p> <a href="https://publications.waset.org/abstracts/95997/attention-and-memory-in-the-music-learning-process-in-individuals-with-visual-impairments" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/95997.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">184</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7496</span> A Comparison of Proxemics and Postural Head Movements during Pop Music versus Matched Music Videos</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Harry%20J.%20Witchel">Harry J. Witchel</a>, <a href="https://publications.waset.org/abstracts/search?q=James%20Ackah"> James Ackah</a>, <a href="https://publications.waset.org/abstracts/search?q=Carlos%20P.%20Santos"> Carlos P. Santos</a>, <a href="https://publications.waset.org/abstracts/search?q=Nachiappan%20Chockalingam"> Nachiappan Chockalingam</a>, <a href="https://publications.waset.org/abstracts/search?q=Carina%20E.%20I.%20Westling"> Carina E. I. Westling</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: Proxemics is the study of how people perceive and use space. It is commonly proposed that when people like or engage with a person/object, they will move slightly closer to it, often quite subtly and subconsciously. Music videos are known to add entertainment value to a pop song. Our hypothesis was that by adding appropriately matched video to a pop song, it would lead to a net approach of the head to the monitor screen compared to simply listening to an audio-only version of the song. Methods: We presented to 27 participants (ages 21.00 ± 2.89, 15 female) seated in front of 47.5 x 27 cm monitor two musical stimuli in a counterbalanced order; all stimuli were based on music videos by the band OK Go: Here It Goes Again (HIGA, boredom ratings (0-100) = 15.00 ± 4.76, mean ± SEM, standard-error-of-the-mean) and Do What You Want (DWYW, boredom ratings = 23.93 ± 5.98), which did not differ in boredom elicited (P = 0.21, rank-sum test). Each participant experienced each song only once, and one song (counterbalanced) as audio-only versus the other song as a music video. The movement was measured by video-tracking using Kinovea 0.8, based on recording from a lateral aspect; before beginning, each participant had a reflective motion tracking marker placed on the outer canthus of the left eye. Analysis of the Kinovea X-Y coordinate output in comma-separated-variables format was performed in Matlab, as were non-parametric statistical tests. Results: We found that the audio-only stimuli (combined for both HIGA and DWYW, mean ± SEM, 35.71 ± 5.36) were significantly more boring than the music video versions (19.46 ± 3.83, P = 0.0066 Wilcoxon Signed Rank Test (WSRT), Cohen's d = 0.658, N = 28). We also found that participants' heads moved around twice as much during the audio-only versions (speed = 0.590 ± 0.095 mm/sec) compared to the video versions (0.301 ± 0.063 mm/sec, P = 0.00077, WSRT). However, the participants' mean head-to-screen distances were not detectably smaller (i.e. head closer to the screen) during the music videos (74.4 ± 1.8 cm) compared to the audio-only stimuli (73.9 ± 1.8 cm, P = 0.37, WSRT). If anything, during the audio-only condition, they were slightly closer. Interestingly, the ranges of the head-to-screen distances were smaller during the music video (8.6 ± 1.4 cm) compared to the audio-only (12.9 ± 1.7 cm, P = 0.0057, WSRT), the standard deviations were also smaller (P = 0.0027, WSRT), and their heads were held 7 mm higher (video 116.1 ± 0.8 vs. audio-only 116.8 ± 0.8 cm above floor, P = 0.049, WSRT). Discussion: As predicted, sitting and listening to experimenter-selected pop music was more boring than when the music was accompanied by a matched, professionally-made video. However, we did not find that the proxemics of the situation led to approaching the screen. Instead, adding video led to efforts to control the head to a more central and upright viewing position and to suppress head fidgeting. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=boredom" title="boredom">boredom</a>, <a href="https://publications.waset.org/abstracts/search?q=engagement" title=" engagement"> engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20videos" title=" music videos"> music videos</a>, <a href="https://publications.waset.org/abstracts/search?q=posture" title=" posture"> posture</a>, <a href="https://publications.waset.org/abstracts/search?q=proxemics" title=" proxemics"> proxemics</a> </p> <a href="https://publications.waset.org/abstracts/110738/a-comparison-of-proxemics-and-postural-head-movements-during-pop-music-versus-matched-music-videos" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/110738.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">167</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">7495</span> Home Education in the Australian Context</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abeer%20Karaali">Abeer Karaali</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper will seek to clarify important key terms such as home schooling and home education as well as the legalities attached to such terms. It will reflect on the recent proposed changes to terminology in NSW, Australia. The various pedagogical approaches to home education will be explored including their prominence in the Australian context. There is a strong focus on literature from Australia. The historical background of home education in Australia will be explained as well as the difference between distance education and home education. The statistics related to home education in Australia will be explored in the scope and compared to the US. The future of home education in Australia will be discussed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=alternative%20education" title="alternative education">alternative education</a>, <a href="https://publications.waset.org/abstracts/search?q=e-learning" title=" e-learning"> e-learning</a>, <a href="https://publications.waset.org/abstracts/search?q=home%20education" title=" home education"> home education</a>, <a href="https://publications.waset.org/abstracts/search?q=home%20schooling" title=" home schooling"> home schooling</a>, <a href="https://publications.waset.org/abstracts/search?q=online%20resources" title=" online resources"> online resources</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a> </p> <a href="https://publications.waset.org/abstracts/34419/home-education-in-the-australian-context" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34419.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">405</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">7494</span> The Educational, Social and Cultural Significance of Boys Choirs</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Johannes%20Van%20Der%20Sandt">Johannes Van Der Sandt</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Worldwide, there are many boys choirs, but the Drakensberg Boys Choir is one of only a few of its kind: selected from a residential boys choir school using choral music as a significant vehicle for holistic education. With ongoing debates as to whether single-gender education is advantageous for boys, and research on the missing males in choirs problem, this presentation‘s purpose is to explore the perceived benefits and values for boys singing in the world-renowned Drakensberg Boys Choir, and to establish educational grounds for the existence of boys choirs. Semi-structured questionnaires were given to choristers, known as Drakies, to ascertain their perceptions of their choir membership. Their experiences are noted in terms of musical, social and behavioral skills gained. The main emerging themes in each category are discussed in order to lay claim to the assumption that boys choirs exist not only to entertain, and nor are their goals purely musical or pedagogical, but that they can be regarded as unique, cultural artifacts that aid boys‘ development into well-equipped and well-rounded young men. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=boys" title="boys">boys</a>, <a href="https://publications.waset.org/abstracts/search?q=choirs" title=" choirs"> choirs</a>, <a href="https://publications.waset.org/abstracts/search?q=choral" title=" choral"> choral</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=skills" title=" skills"> skills</a>, <a href="https://publications.waset.org/abstracts/search?q=values" title=" values"> values</a> </p> <a href="https://publications.waset.org/abstracts/60290/the-educational-social-and-cultural-significance-of-boys-choirs" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60290.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">200</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">7493</span> Towards an Understanding of Social Capital in an Online Community of Filipino Music Artists</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jerome%20V.%20Cleofas">Jerome V. Cleofas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cyberspace has become a more viable arena for budding artists to share musical acts through digital forms. The increasing relevance of online communities has attracted scholars from various fields demonstrating its influence on social capital. This paper extends this understanding of social capital among Filipino music artists belonging to the SoundCloud Philippines Facebook Group. The study makes use of various qualitative data obtained from key-informant interviews and participant observation of online and physical encounters, analyzed using the case study approach. Soundcloud Philippines has over seven-hundred members and is composed of Filipino singers, instrumentalists, composers, arrangers, producers, multimedia artists, and event managers. Group interactions are a mix of online encounters based on Facebook and SoundCloud and physical encounters through meet-ups and events. Benefits reaped from the community are informational, technical, instrumental, promotional, motivational, and social support. Under the guidance of online group administrators, collaborative activities such as music productions, concerts and events transpire. Most conflicts and problems arising are resolved peacefully. Social capital in SoundCloud Philippines is mobilized through recognition, respect and reciprocity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Facebook" title="Facebook">Facebook</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20artists" title=" music artists"> music artists</a>, <a href="https://publications.waset.org/abstracts/search?q=online%20communities" title=" online communities"> online communities</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20capital" title=" social capital"> social capital</a> </p> <a href="https://publications.waset.org/abstracts/16763/towards-an-understanding-of-social-capital-in-an-online-community-of-filipino-music-artists" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/16763.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">319</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">7492</span> Music as Source Domain: A Cross-Linguistic Exploration of Conceptual Metaphors</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eleanor%20Sweeney">Eleanor Sweeney</a>, <a href="https://publications.waset.org/abstracts/search?q=Chunyuan%20Di"> Chunyuan Di</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The metaphors people use in everyday discourse do not arise randomly; rather, they develop from our physical experiences in our social and cultural environments. Conceptual Metaphor Theory (CMT) explains that through metaphor, we apply our embodied understanding of the physical world to non-material concepts to understand and express abstract concepts. Our most productive source domains derive from our embodied understanding and allow us to develop primary metaphors, and from primary metaphors, an elaborate, creative world of culturally constructed complex metaphors. Cognitive Linguistics researchers draw upon individual embodied experience for primary metaphors. Socioculturally embodied experience through music has long furnished linguistic expressions in diverse languages, as conceptual metaphors or everyday expressions.  Can a socially embodied experience function in the same way as an individually embodied experience in the creation of conceptual metaphors? The authors argue that since music is inherently social and embodied, musical experiences function as a richly motivated source domain. The focus of this study is socially embodied musical experience which is then reflected and expressed through metaphors. This cross-linguistic study explores music as a source domain for metaphors of social alignment in English, French, and Chinese. The authors explored two public discourse sites, Facebook and Linguée, in order to collect linguistic metaphors from three different languages. By conducting this cross-linguistic study, cross-cultural similarities and differences in metaphors for which music is the source domain can be examined. Different musical elements, such as melody, speed, rhythm and harmony, are analyzed for their possible metaphoric meanings of social alignment. Our findings suggest that the general metaphor cooperation is music is a productive metaphor with some subcases, and that correlated social behaviors can be metaphorically expressed with certain elements in music. For example, since performance is a subset of the category behavior, there is a natural mapping from performance in music to behavior in social settings: social alignment is musical performance. Musical performance entails a collective social expectation that exerts control over individual behavior.  When individual behavior does not align with the collective social expectation, music-related expressions are often used to express how the individual is violating social norms. Moreover, when individuals do align their behavior with social norms, similar musical expressions are used. Cooperation is a crucial social value in all cultures, indeed it is a key element of survival, and music provides a coherent, consistent, and rich source domain—one based upon a universal and definitive cultural practice. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese" title="Chinese">Chinese</a>, <a href="https://publications.waset.org/abstracts/search?q=Conceptual%20Metaphor%20Theory" title=" Conceptual Metaphor Theory"> Conceptual Metaphor Theory</a>, <a href="https://publications.waset.org/abstracts/search?q=cross-linguistic" title=" cross-linguistic"> cross-linguistic</a>, <a href="https://publications.waset.org/abstracts/search?q=culturally%20embodied%20experience" title=" culturally embodied experience"> culturally embodied experience</a>, <a href="https://publications.waset.org/abstracts/search?q=English" title=" English"> English</a>, <a href="https://publications.waset.org/abstracts/search?q=French" title=" French"> French</a>, <a href="https://publications.waset.org/abstracts/search?q=metaphor" title=" metaphor"> metaphor</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a> </p> <a href="https://publications.waset.org/abstracts/87453/music-as-source-domain-a-cross-linguistic-exploration-of-conceptual-metaphors" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87453.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">171</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7491</span> Music Piracy Revisited: Agent-Based Modelling and Simulation of Illegal Consumption Behavior</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=U.%20S.%20Putro">U. S. Putro</a>, <a href="https://publications.waset.org/abstracts/search?q=L.%20Mayangsari"> L. Mayangsari</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Siallagan"> M. Siallagan</a>, <a href="https://publications.waset.org/abstracts/search?q=N.%20P.%20Tjahyani"> N. P. Tjahyani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> National Collective Management Institute (LKMN) in Indonesia stated that legal music products were about 77.552.008 unit while illegal music products were about 22.0688.225 unit in 1996 and this number keeps getting worse every year. Consequently, Indonesia named as one of the countries with high piracy levels in 2005. This study models people decision toward unlawful behavior, music content piracy in particular, using agent-based modeling and simulation (ABMS). The classification of actors in the model constructed in this study are legal consumer, illegal consumer, and neutral consumer. The decision toward piracy among the actors is a manifestation of the social norm which attributes are social pressure, peer pressure, social approval, and perceived prevalence of piracy. The influencing attributes fluctuate depending on the majority of surrounding behavior called social network. There are two main interventions undertaken in the model, campaign and peer influence, which leads to scenarios in the simulation: positively-framed descriptive norm message, negatively-framed descriptive norm message, positively-framed injunctive norm with benefits message, and negatively-framed injunctive norm with costs message. Using NetLogo, the model is simulated in 30 runs with 10.000 iteration for each run. The initial number of agent was set 100 proportion of 95:5 for illegal consumption. The assumption of proportion is based on the data stated that 95% sales of music industry are pirated. The finding of this study is that negatively-framed descriptive norm message has a worse reversed effect toward music piracy. The study discovers that selecting the context-based campaign is the key process to reduce the level of intention toward music piracy as unlawful behavior by increasing the compliance awareness. The context of Indonesia reveals that that majority of people has actively engaged in music piracy as unlawful behavior, so that people think that this illegal act is common behavior. Therefore, providing the information about how widespread and big this problem is could make people do the illegal consumption behavior instead. The positively-framed descriptive norm message scenario works best to reduce music piracy numbers as it focuses on supporting positive behavior and subject to the right perception on this phenomenon. Music piracy is not merely economical, but rather social phenomenon due to the underlying motivation of the actors which has shifted toward community sharing. The indication of misconception of value co-creation in the context of music piracy in Indonesia is also discussed. This study contributes theoretically that understanding how social norm configures the behavior of decision-making process is essential to breakdown the phenomenon of unlawful behavior in music industry. In practice, this study proposes that reward-based and context-based strategy is the most relevant strategy for stakeholders in music industry. Furthermore, this study provides an opportunity that findings may generalize well beyond music piracy context. As an emerging body of work that systematically constructs the backstage of law and social affect decision-making process, it is interesting to see how the model is implemented in other decision-behavior related situation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20piracy" title="music piracy">music piracy</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20norm" title=" social norm"> social norm</a>, <a href="https://publications.waset.org/abstracts/search?q=behavioral%20decision-making" title=" behavioral decision-making"> behavioral decision-making</a>, <a href="https://publications.waset.org/abstracts/search?q=agent-based%20model" title=" agent-based model"> agent-based model</a>, <a href="https://publications.waset.org/abstracts/search?q=value%20co-creation" title=" value co-creation"> value co-creation</a> </p> <a href="https://publications.waset.org/abstracts/81835/music-piracy-revisited-agent-based-modelling-and-simulation-of-illegal-consumption-behavior" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81835.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">187</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">7490</span> Health Professions Students' Knowledge of and Attitude toward Complementary and Alternative Medicine</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Peter%20R.%20Reuter">Peter R. Reuter</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Health professionals play important roles in helping patients use Complementary and Alternative Medicine (CAM) practices safely and accurately. Consequently, it is important for future health professionals to learn about CAM practices during their time in undergraduate and graduate programs. To satisfy this need for education, teaching CAM in nursing and medical schools and other health professions programs is becoming more prevalent. Our study was the first to look specifically at the knowledge of, and attitude toward CAM of undergraduate health professions students at a university in the U.S. Students were invited to participate in one of two anonymous online surveys depending on whether they were pre-health professions students or graduating health professions seniors. Of the 763 responses analyzed, 71.7% were from pre-health professions students, and 28.3% came from graduating seniors. The overall attitude of participants toward and interest in learning about CAM practices was generally fairly positive with graduating seniors being more positive than pre-health professions students. Yoga, meditation, massage therapy, aromatherapy, and chiropractic care were the practices most respondents had personal experience with. Massage therapy, yoga, chiropractic care, meditation, music therapy, and diet-based therapy received the highest ratings from respondents. Three-quarters of respondents planned on including aspects of holistic medicine in their future career as a health professional. The top five practices named were yoga, meditation, massage therapy, diet-based therapy, and music therapy. The study confirms the need to educate health professions students about CAM practices to give them the background information they need to select or recommend the best practices for their patients' needs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=CAM%20education" title="CAM education">CAM education</a>, <a href="https://publications.waset.org/abstracts/search?q=health%20professions" title=" health professions"> health professions</a>, <a href="https://publications.waset.org/abstracts/search?q=health%20professions%20students" title=" health professions students"> health professions students</a>, <a href="https://publications.waset.org/abstracts/search?q=pre-health%20professions%20students" title=" pre-health professions students"> pre-health professions students</a> </p> <a href="https://publications.waset.org/abstracts/130072/health-professions-students-knowledge-of-and-attitude-toward-complementary-and-alternative-medicine" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130072.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">145</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">7489</span> Case Study: Linking Career Education to University Education in Japan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kumiko%20Inagaki">Kumiko Inagaki</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Japanese society is experiencing an aging population and declining birth rate along with the popularization of higher education, spread of economic globalization, rapid progress in technical innovation, changes in employment conditions, and emergence of a knowledge-based society. Against this background, interest in career education at Japanese universities has increased in recent years. This paper describes how the government has implemented career education policies in Japan, and introduces the cases of two universities that have successfully linked career education to university education in Japan. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=career%20education" title="career education">career education</a>, <a href="https://publications.waset.org/abstracts/search?q=employability" title=" employability"> employability</a>, <a href="https://publications.waset.org/abstracts/search?q=higher%20education" title=" higher education"> higher education</a>, <a href="https://publications.waset.org/abstracts/search?q=japanese%20university" title=" japanese university"> japanese university</a>, <a href="https://publications.waset.org/abstracts/search?q=university%20education" title=" university education"> university education</a> </p> <a href="https://publications.waset.org/abstracts/11627/case-study-linking-career-education-to-university-education-in-japan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/11627.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">355</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">7488</span> Community Music in Puerto Rico</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Francisco%20Luis%20Reyes">Francisco Luis Reyes</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The multiple-case study explores the intricacies of three Puerto Rican Community Music (CM) initiatives. This research concentrates on the teaching and learning dynamics of three of the nation’s traditional musical genres, Plena, Bomba, and Música Jíbara, which have survived for centuries through oral transmission and enculturation in community settings. Accordingly, this research focuses on how music education is carried out in Puerto Rican CM initiatives that foster and preserve the country’s traditional music. This study examines the CM initiatives of La Junta, in Santurce (Plena), Taller Tambuyé in Rio Piedras (Bomba), and Decimanía (Música Jíbara), an initiative that stems from the municipality of Hatillo. In terms of procedure, 45–60-minute semi-structured interviews were conducted with organizers and administrators of the CM initiatives to gain insight into the educational philosophy of each project. Following this, a second series of 45–60-minute semi-structured interviews were undertaken with CM educators to collect data on their musical development, teaching practices, and relationship with learners. Subsequently, four weeks were spent observing/participating in each of the three CM initiatives. In addition to participant observations in these projects, five CM learners from each locale were recruited for two one-on-one semi-structured interviews at the beginning and end of the data collection period. The initial interview centered on the participants’ rationale for joining the CM initiative whereas the exit interview focused on participants’ experience within it. Alumni from each of the CM initiatives partook in 45–60-minute semi-structured interviews to investigate their understanding of what it means to be a member of each musical community. Finally, observations and documentation of additional activities hosted/promoted by each initiative, such as festivals, concerts, social gatherings, and workshops, were undertaken. These three initiatives were chosen because of their robust and dynamic practices in fostering the musical expressions of Puerto Rico. Data collection consisted of participant observation, narrative inquiry, historical research, philosophical inquiry, and semi-structured interviews. Data analysis for this research involved relying on theoretical propositions, which entails comparing the results—from each case and as a collective— to the arguments that led to the basis of the research (e.g., literature review, research questions, hypothesis). Comparisons to the theoretical propositions were made through pattern matching, which requires comparing predicted patterns from the literature review to findings from each case. Said process led to the development of an analytic outlook of each CM case and a cross-case synthesis. The purpose of employing said data analysis methodology is to present robust findings about CM practices in Puerto Rico and elucidate similarities and differences between the cases that comprise this research and the relevant literature. Furthermore, through the use of Sound Links’ Nine Domains of Community Music, comparisons to other community projects are made in order to point out parallels and highlight particularities in Puerto Rico. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=community%20music" title="community music">community music</a>, <a href="https://publications.waset.org/abstracts/search?q=Puerto%20Rico" title=" Puerto Rico"> Puerto Rico</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20learning" title=" music learning"> music learning</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20music" title=" traditional music"> traditional music</a> </p> <a href="https://publications.waset.org/abstracts/187665/community-music-in-puerto-rico" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187665.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">27</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">7487</span> Isan Symphonic Variations for Chorus and Orchestra</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chananart%20Meenanan">Chananart Meenanan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The composition Isan Symphonic Variations for Chorus and Orchestra is a musical composition inspired by Isan Folk music tunes. The composer has created the well crafted melodic variations and cultural sound character of the piece based on the Klon Lum Tang Isan Keaw (Green Isan’s short poems). Meanwhile, the poetic lyric has been motivatedly recreated to bring the abundance of Northeastern Thailand region’s sentiment back to life. Moreover, the sound of xylophone (Ponglang), the instruments of the orchestra and the chorus were blended in order to present Isan folk music’s character via the Western musical idiom. The 3 movement of this composition is divided as following: In Movement I (Allegro), the introduction has been represented the uniqueness in Isan folk music’s liveliness by expressing it through the sound of chorus and orchestra. The composer also added the melodious sound flavor by utilizing the variety of the muting sound style on trumpets and horns. In Movement II (Moderato), the aspect of the heterophonic approach music has been implied to the main idea of the entire movement whereby its formatted transformation worked effectively through chorus and the orchestra. In Movement III (Allegretto) the harmonic chromaticism was modified and applied as the symbolic icon of the entire movement. The transparence of Isan cultural sound was perfectly designed to be the highlight of this spectacular episode. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Isan" title="Isan">Isan</a>, <a href="https://publications.waset.org/abstracts/search?q=symphonic%20variations" title=" symphonic variations"> symphonic variations</a>, <a href="https://publications.waset.org/abstracts/search?q=chorus" title=" chorus"> chorus</a>, <a href="https://publications.waset.org/abstracts/search?q=orchestra" title=" orchestra"> orchestra</a> </p> <a href="https://publications.waset.org/abstracts/13849/isan-symphonic-variations-for-chorus-and-orchestra" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/13849.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">244</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7486</span> Adult Education for Transformation and Security Challenges in Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Asmau%20Zarma%20Gogaram">Asmau Zarma Gogaram</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper examines adult education and how it can be employed as a strategy for transformation and security challenges in Nigeria. It defines the meaning of adult education and its objectives.The issue of the necessity of employing adult education as a strategy for transformation and security challenges was also examined in the paper.In doing this it discussed the different types of adult education programmes, i.e.continuing education, literacy education, retirement and pre-retirement education and civic education. The paper concluded by stating that if the programmes stated are internalizes and applied they can help to raise awareness. Finally the paper proffered some recommendations one of which was that government should at all levels increase their efforts or promoting acquisition of adult education. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adult%20education" title="adult education">adult education</a>, <a href="https://publications.waset.org/abstracts/search?q=transformation%20and%20security%20challenges" title=" transformation and security challenges"> transformation and security challenges</a>, <a href="https://publications.waset.org/abstracts/search?q=Nigeria" title=" Nigeria"> Nigeria</a>, <a href="https://publications.waset.org/abstracts/search?q=education%20and%20human%20development" title=" education and human development"> education and human development</a> </p> <a href="https://publications.waset.org/abstracts/23218/adult-education-for-transformation-and-security-challenges-in-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/23218.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">522</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">7485</span> Neuropsychiatric Outcomes of Intensive Music Therapy in Stroke Rehabilitation A Premilitary Investigation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Honey%20Bryant">Honey Bryant</a>, <a href="https://publications.waset.org/abstracts/search?q=Elvina%20Chu"> Elvina Chu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Stroke is the leading cause of disability in adults in Canada and directly related to depression, anxiety, and sleep disorders; with an estimated annual cost of $50 billion in health care. Strokes not only impact the individual but society as a whole. Current stroke rehabilitation does not include Music Therapy, although it has success in clinical research in the use of stroke rehabilitation. This study examines the use of neurologic music therapy (NMT) in conjunction with stroke rehabilitation to improve sleep quality, reduce stress levels, and promote neurogenesis. Existing research on NMT in stroke is limited, which means any conclusive information gathered during this study will be significant. My novel hypotheses are a.) stroke patients will become less depressed and less anxious with improved sleep following NMT. b.) NMT will reduce stress levels and promote neurogenesis in stroke patients admitted for rehabilitation. c.) Beneficial effects of NMT will be sustained at least short-term following treatment. Participants were recruited from the in-patient stroke rehabilitation program at Providence Care Hospital in Kingston, Ontario, Canada. All participants-maintained stroke rehabilitation treatment as normal. The study was spilt into two groups, the first being Passive Music Listening (PML) and the second Neurologic Music Therapy (NMT). Each group underwent 10 sessions of intensive music therapy lasting 45 minutes for 10 consecutive days, excluding weekends. Psychiatric Assessments, Epworth Sleepiness Scale (ESS), Hospital Anxiety & Depression Rating Scale (HADS), and Music Engagement Questionnaire (MusEQ), were completed, followed by a general feedback interview. Physiological markers of stress were measured through blood pressure measurements and heart rate variability. Serum collections reviewed neurogenesis via Brain-derived neurotrophic factor (BDNF) and stress markers of cortisol levels. As this study is still on-going, a formal analysis of data has not been fully completed, although trends are following our hypotheses. A decrease in sleepiness and anxiety is seen upon the first cohort of PML. Feedback interviews have indicated most participants subjectively felt more relaxed and thought PML was useful in their recovery. If the hypothesis is supported, larger external funding which will allow for greater investigation of the use of NMT in stroke rehabilitation. As we know, NMT is not covered under Ontario Health Insurance Plan (OHIP), so there is limited scientific data surrounding its uses as a clinical tool. This research will provide detailed findings of the treatment of neuropsychiatric aspects of stroke. Concurrently, a passive music listening study is being designed to further review the use of PML in rehabilitation as well. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20therapy" title="music therapy">music therapy</a>, <a href="https://publications.waset.org/abstracts/search?q=psychotherapy" title=" psychotherapy"> psychotherapy</a>, <a href="https://publications.waset.org/abstracts/search?q=neurologic%20music%20therapy" title=" neurologic music therapy"> neurologic music therapy</a>, <a href="https://publications.waset.org/abstracts/search?q=passive%20music%20listening" title=" passive music listening"> passive music listening</a>, <a href="https://publications.waset.org/abstracts/search?q=neuropsychiatry" title=" neuropsychiatry"> neuropsychiatry</a>, <a href="https://publications.waset.org/abstracts/search?q=counselling" title=" counselling"> counselling</a>, <a href="https://publications.waset.org/abstracts/search?q=behavioural" title=" behavioural"> behavioural</a>, <a href="https://publications.waset.org/abstracts/search?q=stroke" title=" stroke"> stroke</a>, <a href="https://publications.waset.org/abstracts/search?q=stroke%20rehabilitation" title=" stroke rehabilitation"> stroke rehabilitation</a>, <a href="https://publications.waset.org/abstracts/search?q=rehabilitation" title=" rehabilitation"> rehabilitation</a>, <a href="https://publications.waset.org/abstracts/search?q=neuroscience" title=" neuroscience"> neuroscience</a> </p> <a href="https://publications.waset.org/abstracts/157425/neuropsychiatric-outcomes-of-intensive-music-therapy-in-stroke-rehabilitation-a-premilitary-investigation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157425.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">113</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7484</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">7483</span> The Role of Art and Music in Enriching Adult Learning in Maltese as a Second Language</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jacqueline%20Zammit">Jacqueline Zammit</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Currently, a considerable number of individuals from different backgrounds are being drawn to Malta due to its favourable environment for business, investment, and employment. This influx has led to a growing interest among expats in learning Maltese as a second language (ML2) to enrich their experience of working and residing in Malta. However, the intricacies of Maltese grammar, particularly challenging for second language (L2) learners unfamiliar with Arabic, can pose difficulties in the learning process. Furthermore, it's worth noting that the teaching of ML2 is an emerging field with limited existing research on effective pedagogical strategies. The realm of second language acquisition (SLA) can be notably demanding for adults, requiring well-founded interventions to facilitate learning. Among these interventions, approaches grounded in empirical evidence have incorporated artistic and musical elements to augment SLA. Both art and music have proven roles in facilitating L2 communication, aiding vocabulary retention, and improving comprehension skills. This study aims to delve into the utilization of music and art as catalysts for enhancing the progress of adult learners in mastering ML2. The research employs a qualitative methodology, employing a sample selected through convenience sampling, which encompassed 37 adult learners of ML2. These participants engaged in individual interviews. The data derived from these interviews were subjected to thorough analysis. The outcomes of the study underscore the substantial positive influence exerted by art and music on the academic advancement of adult ML2 learners. Notably, it emerged from the participants' accounts that the current ML2 curricula lack the integration of art and music. Therefore, this study advocates for the incorporation of art and music components within both traditional classroom settings and online ML2 courses. The intention is to bolster the academic accomplishments of adult learners in the realm of Maltese as a second language, bridging the current gap between theory and practice. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=academic%20accomplishment" title="academic accomplishment">academic accomplishment</a>, <a href="https://publications.waset.org/abstracts/search?q=mature%20learners" title=" mature learners"> mature learners</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20art" title=" visual art"> visual art</a>, <a href="https://publications.waset.org/abstracts/search?q=learning%20Maltese%20as%20a%20second%20language" title=" learning Maltese as a second language"> learning Maltese as a second language</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20involvement" title=" musical involvement"> musical involvement</a>, <a href="https://publications.waset.org/abstracts/search?q=acquiring%20a%20second%20language" title=" acquiring a second language"> acquiring a second language</a> </p> <a href="https://publications.waset.org/abstracts/171863/the-role-of-art-and-music-in-enriching-adult-learning-in-maltese-as-a-second-language" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/171863.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">88</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">7482</span> Self-Efficacy Perceptions of Pre-Service Art and Music Teachers towards the Use of Information and Communication Technologies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Agah%20Tugrul%20Korucu">Agah Tugrul Korucu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Information and communication technologies have become an important part of our daily lives with significant investments in technology in the 21st century. Individuals are more willing to design and implement computer-related activities, and they are the main component of computer self-efficacy and self-efficacy related to the fact that the increase in information technology, with operations in parallel with these activities more successful. The Self-efficacy level is a significant factor which determines how individuals act in events, situations and difficult processes. It is observed that individuals with higher self-efficacy perception of computers who encounter problems related to computer use overcome them more easily. Therefore, this study aimed to examine self-efficacy perceptions of pre-service art and music teachers towards the use of information and communication technologies in terms of different variables. Research group consists of 60 pre-service teachers who are studying at Necmettin Erbakan University Ahmet Keleşoğlu Faculty of Education Art and Music department. As data collection tool of the study; “personal information form” developed by the researcher and used to collect demographic data and "the perception scale related to self-efficacy of informational technology" are used. The scale is 5-point Likert-type scale. It consists of 27 items. The Kaiser-Meyer-Olkin (KMO) sample compliance value is found 0.959. The Cronbach alpha reliability coefficient of the scale is found to be 0.97. computer-based statistical software package (SPSS 21.0) is used in order to analyze the data collected by data collection tools; descriptive statistics, t-test, analysis of variance are used as statistical techniques. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=self-efficacy%20perceptions" title="self-efficacy perceptions">self-efficacy perceptions</a>, <a href="https://publications.waset.org/abstracts/search?q=teacher%20candidate" title=" teacher candidate"> teacher candidate</a>, <a href="https://publications.waset.org/abstracts/search?q=information%20and%20communication%20technologies" title=" information and communication technologies"> information and communication technologies</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20teacher" title=" art teacher"> art teacher</a> </p> <a href="https://publications.waset.org/abstracts/44984/self-efficacy-perceptions-of-pre-service-art-and-music-teachers-towards-the-use-of-information-and-communication-technologies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/44984.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">326</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7481</span> Aitys as the Kazakh Traditional Music Genre in the Sense of Cognitive Musicology</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Indira%20Makhazhan">Indira Makhazhan</a>, <a href="https://publications.waset.org/abstracts/search?q=Azamat%20Taigarayev"> Azamat Taigarayev</a>, <a href="https://publications.waset.org/abstracts/search?q=Perizat%20Yerlan"> Perizat Yerlan</a>, <a href="https://publications.waset.org/abstracts/search?q=Batyrbay%20Gulbike"> Batyrbay Gulbike</a>, <a href="https://publications.waset.org/abstracts/search?q=Samal%20Abzhanova"> Samal Abzhanova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Aitys is a competitional performance of two or more poets creating instantly the lyrics of music concerning the social issues accompanied with the traditional instrument dombra. It is an unique music genre, because it is not practical to create music and lyrics spontaneous in anywhere else. This research study tends to approach to this particular music genre Aitys and identify its significance not only in the sense of the Kazakh cultural heritage, but also from the perspective of personal development as the improvisational , oratory, public performance skills within the ability to think critically over the social problems and represent them in convenient to public form. Through conducting this research, this paper aims to reveal the importance and beneficence of aitys in terms of both prevalence of cultural heritage and its function in personal development of the singer. In order to answer to the research question, we conducted a survey and an in-depth interview with the students of Nazarbayev University. In the survey it was asked to answer the general questions about aitys and its importance, whereas in the interview part, we asked their opinion on the importance of aitys in improving the personal skills. The results of findings was more surprising than it was expected. They agreed that the aitys lessons, workshops and concerts have high outcomes in terms improvements of improvisational, oratory, and leadership skills. Students of NU as a representors of young generation have shown a great interest in aitys, and even more interested in the topics/social issues, where the poets have to defend their usually controversial position. To conclude, the research study has focused on the importance of the aitys in personal development of different leadership skills. The given research lead us to think about the aitys as a part of cognitive musicology, where within the learning of music it represents the process of cognition as well. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aitys" title="aitys">aitys</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20heritage" title=" cultural heritage"> cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=Kazakh%20language" title=" Kazakh language"> Kazakh language</a>, <a href="https://publications.waset.org/abstracts/search?q=musicology" title=" musicology"> musicology</a>, <a href="https://publications.waset.org/abstracts/search?q=personal%20development" title=" personal development"> personal development</a> </p> <a href="https://publications.waset.org/abstracts/59364/aitys-as-the-kazakh-traditional-music-genre-in-the-sense-of-cognitive-musicology" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/59364.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">354</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">7480</span> New Perspectives on Musician’s Focal Dystonia Causes and Therapy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Douglas%20Shabe">Douglas Shabe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The world of the performing musician is one of high pressure that comes from the expected high standards they have to live up to and that they expect from themselves. The pressure that musicians put themselves under can manifest itself in physical problems such as focal dystonia. Knowledge of the contributing factors and potential rehabilitation strategies cannot only give players hope for recovery but also the information to prevent it from happening in the first place. This dissertation presents a multiple case study of two performing brass musicians who developed focal dystonia of the embouchure, also known as embouchure dystonia, combined with an autoethnography of the author’s experience of battling embouchure dystonia and our attempts at recovery. Extensive research into the current state of focal dystonia research was done to establish a base of knowledge. That knowledge was used to develop interview questions for the two participants and interpret the findings of the qualitative data collected. The research knowledge, as well as the qualitative data from the case studies, was also used to interpret the author’s experience. The author determined that behavioral, environmental, and psychological factors were of prime importance in the subjects’ development of focal dystonia and that modifications of those factors are essential for the best chance at recovery. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=focal%20dystonia" title="focal dystonia">focal dystonia</a>, <a href="https://publications.waset.org/abstracts/search?q=embouchure%20dystonia" title=" embouchure dystonia"> embouchure dystonia</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20teaching%20and%20learning" title=" music teaching and learning"> music teaching and learning</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a> </p> <a href="https://publications.waset.org/abstracts/165014/new-perspectives-on-musicians-focal-dystonia-causes-and-therapy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/165014.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">84</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">7479</span> Effective Parameter Selection for Audio-Based Music Mood Classification for Christian Kokborok Song: A Regression-Based Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sanchali%20Das">Sanchali Das</a>, <a href="https://publications.waset.org/abstracts/search?q=Swapan%20Debbarma"> Swapan Debbarma</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music mood classification is developing in both the areas of music information retrieval (MIR) and natural language processing (NLP). Some of the Indian languages like Hindi English etc. have considerable exposure in MIR. But research in mood classification in regional language is very less. In this paper, powerful audio based feature for Kokborok Christian song is identified and mood classification task has been performed. Kokborok is an Indo-Burman language especially spoken in the northeastern part of India and also some other countries like Bangladesh, Myanmar etc. For performing audio-based classification task, useful audio features are taken out by jMIR software. There are some standard audio parameters are there for the audio-based task but as known to all that every language has its unique characteristics. So here, the most significant features which are the best fit for the database of Kokborok song is analysed. The regression-based model is used to find out the independent parameters that act as a predictor and predicts the dependencies of parameters and shows how it will impact on overall classification result. For classification WEKA 3.5 is used, and selected parameters create a classification model. And another model is developed by using all the standard audio features that are used by most of the researcher. In this experiment, the essential parameters that are responsible for effective audio based mood classification and parameters that do not significantly change for each of the Christian Kokborok songs are analysed, and a comparison is also shown between the two above model. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Christian%20Kokborok%20song" title="Christian Kokborok song">Christian Kokborok song</a>, <a href="https://publications.waset.org/abstracts/search?q=mood%20classification" title=" mood classification"> mood classification</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20information%20retrieval" title=" music information retrieval"> music information retrieval</a>, <a href="https://publications.waset.org/abstracts/search?q=regression" title=" regression"> regression</a> </p> <a href="https://publications.waset.org/abstracts/97113/effective-parameter-selection-for-audio-based-music-mood-classification-for-christian-kokborok-song-a-regression-based-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/97113.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">221</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">7478</span> Feasibility of Using Musical Intervention to Promote Growth in Preterm Infants in the Neonatal Intensive Care Unit (NICU)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yutong%20An">Yutong An</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Premature babies in the Neonatal Intensive Care Unit (NICU) are usually protected in individual incubators to ensure a constant temperature and humidity. Accompanied by 24-hour monitoring by medical equipment, this provides a considerable degree of protection for the growth of preterm babies. However, preterm babies are still continuously exposed to noise at excessively high decibels (>45dB). Such noise has a highly damaging effect on the growth and development of preterm babies. For example, in the short term, it can lead to sleep deprivation, stress reactions, and difficulty calming emotions, while in the long term, it can trigger endocrine disorders, metabolic disorders, and hearing impairment. Fortunately, musical interventions in the NICU have been shown to provide calmness to newborns. This article integrates existing research on three types of music that are beneficial for preterm infants and their respective advantages and disadvantages. This paper aims to present a possibility, based on existing NICU equipment and experimental data related to musical interventions, to reduce the impact of noise on preterm babies in the NICU through a system design approach that incorporates a personalized adjustable music system in the incubator and an overall music enhancement in the open bay of the NICU. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20interventions" title="music interventions">music interventions</a>, <a href="https://publications.waset.org/abstracts/search?q=neonatal%20intensive%20care%20unit%20%28NICU%29" title=" neonatal intensive care unit (NICU)"> neonatal intensive care unit (NICU)</a>, <a href="https://publications.waset.org/abstracts/search?q=premature%20babies" title=" premature babies"> premature babies</a>, <a href="https://publications.waset.org/abstracts/search?q=neonatal%20nursing" title=" neonatal nursing"> neonatal nursing</a> </p> <a href="https://publications.waset.org/abstracts/174188/feasibility-of-using-musical-intervention-to-promote-growth-in-preterm-infants-in-the-neonatal-intensive-care-unit-nicu" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174188.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">63</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">7477</span> Effects on Cortical Thickness due to Musical Training in Elementary School Children: The Importance of Manual Structural Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saba%20Daneshmand">Saba Daneshmand</a>, <a href="https://publications.waset.org/abstracts/search?q=Assal%20Habibi"> Assal Habibi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Studying musicians has become a prominent approach in macrostructural neuroscience research aimed at exploring the influence of environmental factors on brain development due to the significant impact of musical training on the brain. Although longitudinal studies can establish a direct causal relationship between musical training and brain development, only a limited number of studies have been conducted for a long enough duration. We recruited children for the experimental music group to participate in an after-school music program which was compared to the control group that had no such after-school program or enrichment activities. We ultimately calculated cortical thickness, a distinct measure of development. When a task such as playing an instrument occurs frequently, the associated neural processes become quicker and more refined over time, causing only the necessary pathways to remain; this, therefore, results in cortical thinning. The Brain and Music Lab has identified the anterior and posterior superior temporal gyrus, Heschl's gyrus, and the inferior regions to be involved with musicianship. The past study only found that the posterior superior temporal gyrus experienced a larger thinning in the music group compared to the control; however, we expect our ongoing study to produce similar but more intense results, including thinning in the other regions associated with musicianship. We believe the limited results of the previous study are due to its short duration which is why this ongoing and more lengthy longitudinal study is a significant and indispensable contribution in helping us discover the important developmental aspects of musical training. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cortical%20thickness" title="cortical thickness">cortical thickness</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=neuroimaging" title=" neuroimaging"> neuroimaging</a>, <a href="https://publications.waset.org/abstracts/search?q=child%20development" title=" child development"> child development</a> </p> <a href="https://publications.waset.org/abstracts/192654/effects-on-cortical-thickness-due-to-musical-training-in-elementary-school-children-the-importance-of-manual-structural-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192654.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">16</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">7476</span> Contemporary Female Composers in Bulgaria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Stanimira%20Ntermentzieva">Stanimira Ntermentzieva</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Gender studies in post-communist Eastern Europe emerged in the early 1990s after the collapse of the communist regime. It can be explained by a series of cultural and political factors. However, Bulgarian female composers’ contribution to Western art music has not been studied. This field shows us some aspects of the impact of globalization on gender issues. This paper outlines the female composers in the establishment of the modern Bulgarian state and society. It is dedicated to the Bulgarian award-winning female composers who studied in Western European and American universities in the 1990s. Many of them migrated to these regions as part of a great migration in which Bulgaria lost 2.3 to three million of its population and strived to modernize Bulgarian music. Nowadays, the Union of Bulgarian Composers has 262 members, but only 19 of them are women. The Grammy-awarded Penka Kouneva (b. 1967) is one of the few female composers in Hollywood. She composed and orchestrated film scores, music for video games and television. Anna-Maria Ravnopolska-Dean (b. 1960) is a Bulgarian/American harpist, arranger, composer, pedagogue and TV host. She wrote pieces for harp and chamber ensembles. Maria Panayotova (b. 1976) studied composition in the USA. Alexandra Fol (b. 1981) and Vania Angelova (b. 1954) work in Canada and are recipients of grants from the Canada Council for the Arts and the Bulgarian Ministry of Culture, among others. Afroditi Katmeridou, born in Bulgaria in 1956 by Greek parents, was the first woman who wrote electroacoustic music. One of the well-known contemporary composers is the British/Bulgarian Dobrinka Tabakova (b. 1980). She moved with her family to the United Kingdom when she was 11 and studied Composition at Guildhall School of Music and Drama in London. Her album String Paths was nominated for a Grammy award. Many female composers made a successful career in EU countries: Albena Petrovic-Vratchanska (Luxemburg), Yuliana Tochkova-Patrouilleau (France), Dariana Kumanova (Italy), Tveta Dimitrova (Austria), Ivajla Kirova (Germany), Alexandra Karastoyanova-Hermentin (Austria) and more. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=balgarian%20music" title="balgarian music">balgarian music</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20composers" title=" female composers"> female composers</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20studies" title=" gender studies"> gender studies</a>, <a href="https://publications.waset.org/abstracts/search?q=western%20art%20music" title=" western art music"> western art music</a>, <a href="https://publications.waset.org/abstracts/search?q=migration" title=" migration"> migration</a> </p> <a href="https://publications.waset.org/abstracts/171069/contemporary-female-composers-in-bulgaria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/171069.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">86</span> </span> </div> </div> <ul class="pagination"> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20education&page=7" rel="prev">&lsaquo;</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20education&page=1">1</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20education&page=2">2</a></li> <li class="page-item disabled"><span class="page-link">...</span></li> <li class="page-item"><a class="page-link" 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