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interdiscplinary concerts</title> <meta name="description" content="Search results for: interdiscplinary concerts"> <meta name="keywords" content="interdiscplinary concerts"> <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 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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="interdiscplinary concerts"> <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> 23</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: interdiscplinary concerts</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">23</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">22</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">21</span> Lunch Hour Concerts as a Strategy for Strengthening Student Performance Skills: University of Port Harcourt Experience</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rita%20A.%20Sunday-Kanu">Rita A. Sunday-Kanu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article reports on an evaluation of lunch hour concert and its effectiveness in improving undergraduate performance ability. In particular, it examines the aptitude of students in classroom applied music and their reaction/responses to true life concert situations. It further investigated factors affecting students’ confidence during performances, the relationship between stage fright and confidence building in regular concert participation. The Department of Music, University of Port Harcourt runs monthly lunch our concerts which are coordinated by undergraduates for the university community. Forty music students who have participated in or coordinated lunch hour concerts were chosen for this survey. Eight music lecturers who have supervised the monthly lunch hour concert were also chosen for this study. The attitude and view on the effectiveness of lunch hour concert in enhancing students’ performance skills were gotten through questionnaires survey, in-depth interview and participant observation to determine if classroom based applied music alone is as successful in grooming performance genius as the lunch hour concert. Result indicated that students’ participation in lunch hour concert did indeed broaden and strengthened their performance experiences. This observation led to a recommendation that regular community based concerts be considered as a standard for performance practices in the university curriculum since it serves as a preparatory platform for acquiring professional performance skills before graduation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=lunch%20hour%20concert" title="lunch hour concert">lunch hour concert</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20skill" title=" performing skill"> performing skill</a>, <a href="https://publications.waset.org/abstracts/search?q=community%20concert" title=" community concert"> community concert</a> </p> <a href="https://publications.waset.org/abstracts/82794/lunch-hour-concerts-as-a-strategy-for-strengthening-student-performance-skills-university-of-port-harcourt-experience" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82794.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">175</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">20</span> Enhancing Audience Engagement: Informal Music Learning During Classical Concerts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Linda%20Dusman">Linda Dusman</a>, <a href="https://publications.waset.org/abstracts/search?q=Linda%20Baker"> Linda Baker</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Bearman Study of Audience Engagement examined the potential for real-time music education during online symphony orchestra concerts. It follows on the promising results of a preliminary study of STEAM (Science, Technology, Engineering, Arts, and Mathematics) education during live concerts, funded by the National Science Foundation with the Baltimore Symphony Orchestra. For the Bearman Study, audience groups were recruited to attend two previously recorded concerts of the National Orchestral Institute (NOI) in 2020 or the Utah Symphony in 2021. They used a smartphone app called EnCue to present real-time program notes about the music being performed. Short notes along with visual information (photos and score fragments) were designed to provide historical, cultural, biographical, and theoretical information at specific moments in the music where that information would be most pertinent, generally spaced 2-3 minutes apart to avoid distraction. The music performed included Dvorak Symphony No. 8 and Mahler Symphony No. 5 at NOI, and Mendelssohn Scottish Symphony and Richard Strauss Metamorphosen with the Utah Symphony, all standard repertoire for symphony orchestras. During each phase of the study (2020 and 2021), participants were randomly assigned to use the app to view program notes during the first concert or to use the app during the second concert. A total of 139 participants (67 in 2020 and 72 in 2021) completed three online questionnaires, one before attending the first concert, one immediately after the concert, and the third immediately after the second concert. Questionnaires assessed demographic background, expertise in music, engagement during the concert, learning of content about the composers and the symphonies, and interest in the future use of the app. In both phases of the study, participants demonstrated that they learned content presented on the app, evidenced by the fact that their multiple-choice test scores were significantly higher when they used the app than when they did not. In addition, most participants indicated that using the app enriched their experience of the concert. Overall, they were very positive about their experience using the app for real-time learning and they expressed interest in using it in the future at both live and streaming concerts. Results confirmed that informal real-time learning during concerts is possible and can generate enhanced engagement and interest in classical music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audience%20engagement" title="audience engagement">audience engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=informal%20education" title=" informal education"> informal education</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20technology" title=" music technology"> music technology</a>, <a href="https://publications.waset.org/abstracts/search?q=real-time%20learning" title=" real-time learning"> real-time learning</a> </p> <a href="https://publications.waset.org/abstracts/141533/enhancing-audience-engagement-informal-music-learning-during-classical-concerts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/141533.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">202</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">19</span> Performants: A Digital Event Manager-Organizer</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ioannis%20Andrianakis">Ioannis Andrianakis</a>, <a href="https://publications.waset.org/abstracts/search?q=Manolis%20Falelakis"> Manolis Falelakis</a>, <a href="https://publications.waset.org/abstracts/search?q=Maria%20Pavlidou"> Maria Pavlidou</a>, <a href="https://publications.waset.org/abstracts/search?q=Konstantinos%20Papakonstantinou"> Konstantinos Papakonstantinou</a>, <a href="https://publications.waset.org/abstracts/search?q=Ermioni%20Avramidou"> Ermioni Avramidou</a>, <a href="https://publications.waset.org/abstracts/search?q=Dimitrios%20Kalogiannis"> Dimitrios Kalogiannis</a>, <a href="https://publications.waset.org/abstracts/search?q=Nikolaos%20Milios"> Nikolaos Milios</a>, <a href="https://publications.waset.org/abstracts/search?q=Katerina%20Bountakidou"> Katerina Bountakidou</a>, <a href="https://publications.waset.org/abstracts/search?q=Kiriakos%20Chatzidimitriou"> Kiriakos Chatzidimitriou</a>, <a href="https://publications.waset.org/abstracts/search?q=Panagiotis%20Panagiotopoulos"> Panagiotis Panagiotopoulos</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Artistic events, such as concerts and performances, are challenging to organize because they involve many people with different skill sets. Small and medium venues often struggle to afford the costs and overheads of booking and hosting remote artists, especially if they lack sponsors or subsidies. This limits the opportunities for both venues and artists, especially those outside of big cities. However, more and more research shows that audiences prefer smaller-scale events and concerts, which benefit local economies and communities. To address this challenge, our project “PerformAnts: Digital Event Manager-Organizer” aims to develop a smart digital tool that automates and optimizes the processes and costs of live shows and tours. By using machine learning, applying best practices and training users through workshops, our platform offers a comprehensive solution for a growing market, enhances the mobility of artists and the accessibility of venues and allows professionals to focus on the creative aspects of concert production. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=event%20organization" title="event organization">event organization</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20industries" title=" creative industries"> creative industries</a>, <a href="https://publications.waset.org/abstracts/search?q=event%20promotion" title=" event promotion"> event promotion</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a> </p> <a href="https://publications.waset.org/abstracts/170627/performants-a-digital-event-manager-organizer" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170627.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">87</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">18</span> Classical Music Unplugged: The Future of Classical Music Performance: Tradition, Technology, and Audience Engagement</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Orit%20Wolf">Orit Wolf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Classical music performance is undergoing a profound transformation, marked by a confluence of technological advancements and evolving cultural dynamics. This academic paper explores the multifaceted changes and challenges faced by classical music performance, considering the impact of artificial intelligence (AI) along with other vital factors shaping this evolution. In the contemporary era, classical music is experiencing shifts in performance practices. This paper delves into these changes, emphasizing the need for adaptability within the classical music world. From repertoire selection and concert formats to artistic expression, performers and institutions navigate a delicate balance between tradition and innovation. We explore how these changes impact the authenticity and vitality of classical music performances. Furthermore, the influence of AI in the classical music concert world cannot be underestimated. AI technologies are making inroads into various aspects, from composition assistance to rehearsal and live performances. This paper examines the transformative effects of AI, considering how it enhances precision, adaptability, and creative exploration for musicians. We explore the implications for composers, performers, and the overall concert experience while addressing ethical concerns and creative opportunities. In addition to AI, there is the importance of cross-genre interactions within the classical music sphere. Mash-ups and collaborations with artists from diverse musical backgrounds are redefining the boundaries of classical music and creating works that resonate with a wider and more diverse audience. The benefits of cross-pollination in classical music seem crucial, offering a fresh perspective to listeners. As an active concert artist, Orit Wolf will share how the expectations of classical music audiences are evolving. Modern concertgoers seek not only exceptional musical performances but also immersive experiences that may involve technology, multimedia, and interactive elements. This paper examines how classical musicians and institutions are adapting to these changing expectations, using technology and innovative concert formats to deliver a unique and enriched experience to their audiences. As these changes and challenges reshape the classical music world, the need for a harmonious coexistence of tradition, technology, and innovation becomes evident. Musicians, composers, and institutions are striving to find a balance that ensures classical music remains relevant in a rapidly changing cultural landscape while maintaining the value it brings to compositions and audiences. This paper, therefore, aims to explore the evolving trends in classical music performance. It considers the influence of AI as one element within the broader context of change, highlighting the necessity of adaptability, cross-genre interactions, and a response to evolving audience expectations. By doing so, the classical music world can navigate this transformative period while preserving its timeless traditions and adding value to both performers and listeners. Orit Wolf, an international concert pianist, fulfils her vision to bring this music in new ways to mass audiences and will share her personal and professional experience as an artist who goes on stage and makes disruptive concerts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cross%20culture%20collaboration" title="cross culture collaboration">cross culture collaboration</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20performance%20and%20ai" title=" music performance and ai"> music performance and ai</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20music%20in%20the%20digital%20age" title=" classical music in the digital age"> classical music in the digital age</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20concerts" title=" classical concerts"> classical concerts</a>, <a href="https://publications.waset.org/abstracts/search?q=innovation%20and%20technology" title=" innovation and technology"> innovation and technology</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20innovation" title=" performance innovation"> performance innovation</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20engagement%20in%20classical%20concerts" title=" audience engagement in classical concerts"> audience engagement in classical concerts</a> </p> <a href="https://publications.waset.org/abstracts/175572/classical-music-unplugged-the-future-of-classical-music-performance-tradition-technology-and-audience-engagement" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/175572.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">64</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">17</span> ReS, Resonant String Shell: Development of an Acoustic Shell for Outdoor Chamber Music Concerts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Serafino%20Di%20Rosario">Serafino Di Rosario</a> </p> <p class="card-text"><strong>Abstract:</strong></p> ReS is a sustainable hand-built temporary acoustic shell, developed since 2011 and built during the architectural workshop at Villa Pennisi in Musica in Acireale, Sicily, each year since 2012. The design concept aims to provide a portable structure by reducing the on-site construction problems and the skills required by the builders together with maximizing the acoustic performance for the audience and the musicians. The shell is built using only wood, recycled for the most part, and can be built and dismantled by non-specialized workers in just three days. This paper describes the research process, which spans over four years and presents the final results in form of acoustic simulations performed by acoustic modeling software and real world measurements. ReS is developed by the ReS team who has been presented with the Peter Lord Award in 2015 by the Institute of Acoustics in the UK. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=acoustic%20shell" title="acoustic shell">acoustic shell</a>, <a href="https://publications.waset.org/abstracts/search?q=outdoor%20natural%20amplification" title=" outdoor natural amplification"> outdoor natural amplification</a>, <a href="https://publications.waset.org/abstracts/search?q=computational%20design" title=" computational design"> computational design</a>, <a href="https://publications.waset.org/abstracts/search?q=room%20acoustics" title=" room acoustics"> room acoustics</a> </p> <a href="https://publications.waset.org/abstracts/67117/res-resonant-string-shell-development-of-an-acoustic-shell-for-outdoor-chamber-music-concerts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67117.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">228</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">16</span> The Women's Orchestra and Music in Auschwitz-Birkenau: A Qualitative Study on Nazi Manipulation </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=K.%20T.%20%20Kohler">K. T. Kohler</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Typically in war, force involves physical violence, though those who perpetrated the Holocaust expanded manipulation techniques to include mental violence. This qualitative research study was conducted to understand the effects that the music of the Women’s Orchestra of Auschwitz-Birkenau had on women prisoners during World War II. Over 100 testimonies from the USC Shoah Foundation’s Visual History Archive reveal that the orchestra’s music had a profoundly distressing effect on many of the women in the camp. Led by Gustav Mahler’s granddaughter, Alma Rosé, the orchestra rhythmed the life cycle of the camp, from marching to and from work, Sunday concerts, welcoming transports, to the prisoners’ walk to gas chambers. What surfaced from these testimonies was that the more technical the exposure a woman had to music before camp, the more disturbing its effect. The juxtaposition of beauty with the visible horror of the camp thrust them into an impossible state where suicide became a plausible alternative. By exploiting the Women’s Orchestra, the Nazis made music a critical component of manipulation within Auschwitz-Birkenau. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alma%20Ros%C3%A9" title="Alma Rosé">Alma Rosé</a>, <a href="https://publications.waset.org/abstracts/search?q=Auschwitz-Birkenau" title=" Auschwitz-Birkenau"> Auschwitz-Birkenau</a>, <a href="https://publications.waset.org/abstracts/search?q=camp%20life" title=" camp life"> camp life</a>, <a href="https://publications.waset.org/abstracts/search?q=concert" title=" concert"> concert</a>, <a href="https://publications.waset.org/abstracts/search?q=Holocaust" title=" Holocaust"> Holocaust</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=O%C5%9Bwi%C4%99cim" title=" Oświęcim"> Oświęcim</a>, <a href="https://publications.waset.org/abstracts/search?q=Poland" title=" Poland"> Poland</a>, <a href="https://publications.waset.org/abstracts/search?q=women%E2%80%99s%20orchestra" title=" women’s orchestra "> women’s orchestra </a> </p> <a href="https://publications.waset.org/abstracts/102510/the-womens-orchestra-and-music-in-auschwitz-birkenau-a-qualitative-study-on-nazi-manipulation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102510.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">185</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15</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">14</span> Relationships between Financial, Cultural, Emotional, and General Wellbeing: A Structural Equation Modeling Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michael%20Alsop">Michael Alsop</a>, <a href="https://publications.waset.org/abstracts/search?q=Hannah%20Heitz"> Hannah Heitz</a>, <a href="https://publications.waset.org/abstracts/search?q=Prathiba%20Natesan%20Batley"> Prathiba Natesan Batley</a>, <a href="https://publications.waset.org/abstracts/search?q=Marion%20Hambrick"> Marion Hambrick</a>, <a href="https://publications.waset.org/abstracts/search?q=Jason%20Immekus"> Jason Immekus</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The impacts of cultural engagement on individuals’ health and well-being have been well documented. The purposes of this study were to create an instrument to measure wellbeing constructs, including cultural wellbeing, and explore the relationships between cultural wellbeing and other wellbeing constructs (e.g., emotional, social, physical, spiritual). A sample of 358 participants attending concerts performed by a civic orchestra in the southeastern United States completed a questionnaire designed to measure eight wellbeing constructs. Split-half exploratory, confirmatory factor analyses resulted in the retention of four wellbeing constructs: general, emotional, financial, and cultural. Structural equation modeling showed statistically significant relationships between cultural wellbeing and other wellbeing constructs. In addition to the indirect effect of financial wellbeing on emotional and general wellbeing through cultural wellbeing, there were also direct statistically significant relationships (i.e., moderator). This highlights the importance of removing financial barriers to cultural engagement and the relationship between cultural wellbeing on emotional and general wellbeing. Additionally, the retained cultural wellbeing items focused primarily on community features, indicating the value of community-based cultural engagement opportunities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20wellbeing" title="cultural wellbeing">cultural wellbeing</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20engagement" title=" cultural engagement"> cultural engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=factor%20analysis" title=" factor analysis"> factor analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=structural%20equation%20modeling" title=" structural equation modeling"> structural equation modeling</a> </p> <a href="https://publications.waset.org/abstracts/167360/relationships-between-financial-cultural-emotional-and-general-wellbeing-a-structural-equation-modeling-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167360.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">82</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">13</span> Performants: Making the Organization of Concerts Easier</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ioannis%20Andrianakis">Ioannis Andrianakis</a>, <a href="https://publications.waset.org/abstracts/search?q=Panagiotis%20Panagiotopoulos"> Panagiotis Panagiotopoulos</a>, <a href="https://publications.waset.org/abstracts/search?q=Kyriakos%20Chatzidimitriou"> Kyriakos Chatzidimitriou</a>, <a href="https://publications.waset.org/abstracts/search?q=Dimitrios%20Tampakis"> Dimitrios Tampakis</a>, <a href="https://publications.waset.org/abstracts/search?q=Manolis%20Falelakis"> Manolis Falelakis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Live music, whether performed in organized venues, restaurants, hotels or any other spots, creates value chains that support and develop local economies and tourism development. In this paper, we describe PerformAnts, a platform that increases the mobility of musicians and their accessibility to remotely located venues by rationalizing the cost of live acts. By analyzing the event history and taking into account their potential availability, the platform provides bespoke recommendations to both bands and venues while also facilitating the organization of tours and helping rationalize transportation expenses by realizing an innovative mechanism called “chain booking”. Moreover, the platform provides an environment where complicated tasks such as technical and financial negotiations, concert promotion or copyrights are easily manipulated by users using best practices. The proposed solution provides important benefits to the whole spectrum of small/medium size concert organizers, as the complexity and the cost of the production are rationalized. The environment is also very beneficial for local talent, musicians that are very mobile, venues located away from large urban areas or in touristic destinations, and managers who will be in a position to coordinate a larger number of musicians without extra effort. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title="machine learning">machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20industry" title=" music industry"> music industry</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20industries" title=" creative industries"> creative industries</a>, <a href="https://publications.waset.org/abstracts/search?q=web%20applications" title=" web applications"> web applications</a> </p> <a href="https://publications.waset.org/abstracts/162544/performants-making-the-organization-of-concerts-easier" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/162544.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">96</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">12</span> The Role of Student Culture in Beginning Music Teachers’ Instruction in Urban School Settings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kiana%20Williams">Kiana Williams</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this case study was to examine beginning music teachers’ perspectives of cultural relevance in relation to music instruction in urban school settings within a large Southwestern city. Research questions focused on the role of student culture in beginning music teachers’ instruction. Data were collected based on Seidman’s (2013) three interview series, consisting of audio recordings from two semi-structured individual interviews for each participant, a 15-20-minute video recording from each participant teaching in their classroom, and an audio recording of one focus group interview. Participants included three beginning music teachers currently employed in urban schools in a major metropolitan city in the Southern United States. In this study, a teacher was considered a beginning teacher if they had zero to three years of experience teaching music in urban school settings. The results revealed three broad themes related to connectivity and relatability, concerts, and differentiated instruction. Implications for current music educators as well as music teacher educators in higher education are included in this study. Further research should consider examining the effect of culturally relevant pedagogy on student retention in urban school music programs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture" title="culture">culture</a>, <a href="https://publications.waset.org/abstracts/search?q=instruction" title=" instruction"> instruction</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=pedagogy" title=" pedagogy"> pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=teacher" title=" teacher"> teacher</a>, <a href="https://publications.waset.org/abstracts/search?q=urban" title=" urban"> urban</a> </p> <a href="https://publications.waset.org/abstracts/135256/the-role-of-student-culture-in-beginning-music-teachers-instruction-in-urban-school-settings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135256.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">139</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">11</span> The Role of Uzbek Music Culture in Tourism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Odina%20Omonjonova">Odina Omonjonova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Uzbek people have a rich history and a rapidly developing music culture for several centuries. Monuments, shrines, places of culture and spirituality, which are the most beautiful proofs of history, show that this country has been a center of wisdom since ancient times. Nowadays, Uzbekistan is opening its face to the world with its unique spiritual heritage, historical monuments, peaceful corners and beautiful landscapes. Tourists from many countries visit and get acquainted with Uzbek culture and history and acknowledge it with great respect. The place of traditional music in describing the national color on the world scale is incomparable. Oral folk works that have reached this period, lapar, yalla, songs and ‘Shashmaqom’ are the intangible spiritual wealth of the Uzbek people. They embody the ancient and great history, spiritual world, artistic philosophy, spirit and values of our nation. National music is the main part of the culture of the nation, and here it is worth emphasizing the importance of music in the tourism of Uzbekistan. Foreign guests can enjoy our national music in various ways: (1) Concerts: There are many concert halls and cultural centers in the cities of Uzbekistan, where many concerts and events are held. Well-known musicians, singers and ensembles add more beauty to the beauty of these places, performing musical samples in Shashmaqom and other traditional styles. In these concert programs, tourists will have the opportunity to listen to works of art in an attractive live performance. (2) Festivals: Many music festivals are held in Uzbekistan throughout the year. The ‘Sharq Taronalari’ international music festival is a unique holiday where musicians from all over the world gather to celebrate the diversity of musical traditions. In recent years, traditional music has been played regularly in a number of festivals such as the ‘International Maqom Festival’, ‘International Craft Festival’ and ‘Boysun Bahari’ held in our country, which has increased the attention of travelers to our music culture. (3) Cultural seminars. Tourists interested in hands-on musical experience can participate in musical workshops. These classes allow tourists to learn to play traditional musical instruments and even participate in group activities. (4) Street musicians: In the central places and ancient streets of Uzbekistan's cities, we can meet street musicians playing soulful tunes. Performing and singing folklore samples on modern instruments directly attracts foreign guests. In Uzbekistan, national music and tourism have a direct and indirect connection. Music serves as a bridge between the country's history and its modern identity and enriches the travel experience. The impact of national music on tourism goes beyond mere statistics. Although tourist arrivals have increased significantly due to music-related attractions, the real impact lies in the stories and live testimonies of visitors. Travelers often say that the rhythms of Uzbekistan touched their hearts and broadened their worldview. In addition, music tourism strengthens the country's economy, provides employment, supports local artisans and performers, and provides an opportunity to showcase their talents to a global audience. In short, Uzbekistan is not only a place of interest, but it is among the countries that attract travelers with its unique national music. Uzbek music, folklore, songs, from the wonderful melodies of ‘Shashmaqom’ to the attractive sounds of traditional musical instruments, give aesthetic and spiritual pleasure and are important in organizing a large-scale trip for tourists visiting the country. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20music" title="traditional music">traditional music</a>, <a href="https://publications.waset.org/abstracts/search?q=folklore" title=" folklore"> folklore</a>, <a href="https://publications.waset.org/abstracts/search?q=shashmaqom" title=" shashmaqom"> shashmaqom</a>, <a href="https://publications.waset.org/abstracts/search?q=tourism" title=" tourism"> tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=festivals" title=" festivals"> festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=street%20musicians" title=" street musicians"> street musicians</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20musical%20instruments" title=" traditional musical instruments"> traditional musical instruments</a> </p> <a href="https://publications.waset.org/abstracts/188283/the-role-of-uzbek-music-culture-in-tourism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/188283.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">39</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">10</span> Virtual Life: Fashion, Expression, and Identity in the Digital World</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elizabeth%20Bourgeois">Elizabeth Bourgeois</a> </p> <p class="card-text"><strong>Abstract:</strong></p> During social distancing, fashion and self-expression have been pushed further into virtual environments. In VR spaces, identities can be curated easily, untethered from the necessities of life and work. Personal styles reach a wider audience and follow new rules. Digital platforms leave some, but not all, 'real world' clothing constraints behind. Virtual aesthetics are set by the user and the software. Gen Z is a native user, applying face filters on Instagram and Snapchat and styling outfits and skins in apps like Gacha Life, Roblox, and Fortnite. These games cultivate space for community and personal style. Loosely tied to human forms, each app has physical aesthetics, with clear vernacular dress defining it. There are ecosystems of makers, consumers, and critics. Designer-modelers create original assets, brands, and luxury items. Fashion and beauty are ephemeral but always reflect the idealization of form and self. Online communities have already established new beauty ideals that impact live fashion trends. Fashion houses develop AR filters, gaming hairstyles challenge real-world colorists, and musicians perform virtual concerts in their avatar forms. In these times, social media and gaming communities promote the expression of public identity. The online dress is no longer tied to 'real' bodies or cloth. In virtual worlds, there are still tribes, status symbols, gender identities, and roles, but free of fabric, form, and static social structure, there is room for fantastic invention. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality" title="virtual reality">virtual reality</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion" title=" fashion"> fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=Gen%20Z" title=" Gen Z"> Gen Z</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20media" title=" social media"> social media</a>, <a href="https://publications.waset.org/abstracts/search?q=gaming" title=" gaming"> gaming</a> </p> <a href="https://publications.waset.org/abstracts/131478/virtual-life-fashion-expression-and-identity-in-the-digital-world" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131478.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">9</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">8</span> Analyzing the Place of Technology in Communication: Case Study of Kenya during COVID-19</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Josephine%20K.%20Mule">Josephine K. Mule</a>, <a href="https://publications.waset.org/abstracts/search?q=Levi%20Obonyo"> Levi Obonyo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Technology has changed human life over time. The COVID-19 pandemic has altered the work set-up, the school system, the shopping experience, church attendance, and even the way athletes train in Kenya. Although the use of technology to communicate and maintain interactions has been on the rise in the last 30 years, the uptake during the COVID-19 pandemic has been unprecedented. Traditionally, ‘paid’ work has been considered to take place outside the “home house” but COVID-19 has resulted in what is now being referred to as “the world’s largest work-from-home experiment” with up to 43 percent of employees working at least some of the time remotely. This study was conducted on 90 respondents from across remote work set-ups, school systems, merchants and customers of online shopping, church leaders and congregants and athletes, and their coaches. Data were collected by questionnaires and interviews that were conducted online. The data is based on the first three months since the first case of coronavirus was reported in Kenya. This study found that the use of technology is in the center of working remotely with work interactions being propelled on various online platforms including, Zoom, Microsoft Teams, and Google Meet, among others. The school system has also integrated the use of technology, including students defending their thesis/dissertations online and university graduations being conducted virtually. Kenya is known for its long-distance runners, due to the directives to reduce interactions; coaches have taken to providing their athletes with guidance on training on social media using applications such as WhatsApp. More local stores are now offering the shopping online option to their customers. Churches have also felt the brunt of the situation, especially because of the restrictions on crowds resulting in online services becoming more popular in 2020 than ever before. Artists, innovatively have started online musical concerts. The findings indicate that one of the outcomes in the Kenyan society that is evident as a result of the COVID-19 period is a population that is using technology more to communicate and get work done. Vices that have thrived in this season where the use of technology has increased, include the spreading of rumors on social media and cyberbullying. The place of technology seems to have been cemented by demand during this period. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communication" title="communication">communication</a>, <a href="https://publications.waset.org/abstracts/search?q=coronavirus" title=" coronavirus"> coronavirus</a>, <a href="https://publications.waset.org/abstracts/search?q=COVID-19" title=" COVID-19"> COVID-19</a>, <a href="https://publications.waset.org/abstracts/search?q=Kenya" title=" Kenya"> Kenya</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a> </p> <a href="https://publications.waset.org/abstracts/127531/analyzing-the-place-of-technology-in-communication-case-study-of-kenya-during-covid-19" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/127531.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">139</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">7</span> Effect of Lullabies on Babies Stress and Relaxation Symptoms in the Neonatal Intensive Care Units</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Meltem%20%20K%C3%BCrt%C3%BCnc%C3%BC">Meltem Kürtüncü</a>, <a href="https://publications.waset.org/abstracts/search?q=I%C5%9F%C4%B1n%20Alkan"> Işın Alkan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Objective: This study was carried out with an experimental design in order to determine whether the lullaby, which was listened from mother’s voice and a stranger’s voice to the babies born at term and hospitalized in neonatal intensive care unit, had an effect on stress and relaxation symptoms of the infants. Method: Data from the study were obtained from 90 newborn babies who were hospitalized in Neonatal Intensive Care Unit of Zonguldak Maternity And Children Hospital between September 2015-January 2016 and who met the eligibility criteria. Lullaby concert was performed by choosing one of the suitable care hours. Stress and relaxation symptoms were recorded by the researcher on “Newborn response follow-up form” at pre-care and post-care. Results: After lullaby concert when stress symptoms compared to infants in the experimental and control groups before the care was not detected statistically significant difference between crying, contraction, facial grimacing, flushing, cyanosis and the rates of increase in temperature. After care, crying, contractions, facial grimacing, flushing, and restlessness revealed a statistically significant difference between the groups, but as the cyanosis and temperature increased stress responses did not result in a significant difference between the groups. In the control group babies the crying, contraction, facial grimacing, flushing, and restlessness behaviors rates were found to be significantly higher than experimental group babies. After lullaby concert when relaxation symptoms compared to infants in the experimental and control groups before the care, eye contact rates who listen to lullaby from mother’s voice was found to be significantly higher than infants who listen to lullaby from stranger’s voice and infants in the control group. After care as eye contact, smiling, sucking/searching, yawning, non-crying and sleep behaviors relaxation symptoms revealed statistically significant results. In the control group, these behaviors were found statistically lower degree than the experimental groups. Conclusion: Lullaby concerts as masking the ambient noise, reducing the stress symptoms and increasing the relaxation symptoms, and also for soothing and stimulant affects, due to ease the transition to the sleep state should be preferred in the neonatal intensive care units. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=lullaby" title="lullaby">lullaby</a>, <a href="https://publications.waset.org/abstracts/search?q=mother%20voice" title=" mother voice"> mother voice</a>, <a href="https://publications.waset.org/abstracts/search?q=relaxation" title=" relaxation"> relaxation</a>, <a href="https://publications.waset.org/abstracts/search?q=stress" title=" stress"> stress</a> </p> <a href="https://publications.waset.org/abstracts/64813/effect-of-lullabies-on-babies-stress-and-relaxation-symptoms-in-the-neonatal-intensive-care-units" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64813.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">230</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">6</span> Effect of Lullabies on Babies Growth and Development, Vital Signs and Hospitalization Times in the Neonatal Intensive Care Units</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=I%C5%9F%C4%B1n%20Alkan">Işın Alkan</a>, <a href="https://publications.waset.org/abstracts/search?q=Meltem%20K%C3%BCrt%C3%BCnc%C3%BC"> Meltem Kürtüncü</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Objective: This study was carried out with an experimental design in order to determine whether the lullaby, which was listened from mother’s voice and a stranger’s voice to the babies born at term and hospitalized in neonatal intensive care unit, had an effect on saturation values (SpO2), peak heart rate (PHR), respiration, fever, growth and development and hospitalization times of the infants. Method: Data from the study were obtained from 90 newborn babies who were hospitalized in Neonatal Intensive Care Unit of Zonguldak Maternity And Children Hospital between September 2015-January 2016 and who met the eligibility criteria. Lullaby concert was performed by choosing one of the suitable care hours. SpO2, PHR, respiration, fever, growth and development and hospitalization times of the infants were recorded by the researcher on “Newborn response follow-up form” at pre-care and post-care. Vital signs of babies every day, weight, height and head circumference measurements at admission, weakly rated at an output. Results: In the experimental and control groups, like weight, height and head circumference anthropometric measurements were not found statistically significant difference intensive care units admission and output times. Hospitalization times on babies who listen to lullaby mother’s voice revealed statistically significant difference according to babies who listen to lullaby stranger’s voice. Before care and after care were examined, SpO2 rates of babies who listen to lullaby mother’s voice revealed statistically significant higher difference according to babies who listen to lullaby stranger’s voice and control group babies. Before care on PHR of babies in three groups were not found the statistical difference, but aftercare, it was found that statistically lower (normal range) on babies who listen to lullaby mother’s voice according to babies who listen to lullaby stranger’s voice. Before care in three groups were not found the statistical difference on respiration values of babies, but aftercare, it was found that statistically lower (normal range) on babies who listen to lullaby stranger’s voice according to babies who listen to mother’s voice and control groups. Before care and after care were examined, fever signs did not reveal statistically significant difference in three groups. Conclusion: Lullaby concerts as being normal ranges of vital signs of infants and also helping to shorten hospitalization times should be preferred in the neonatal intensive care units. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=growth%20and%20development" title="growth and development">growth and development</a>, <a href="https://publications.waset.org/abstracts/search?q=lullaby" title=" lullaby"> lullaby</a>, <a href="https://publications.waset.org/abstracts/search?q=mother%20voice" title=" mother voice"> mother voice</a>, <a href="https://publications.waset.org/abstracts/search?q=vital%20signs" title=" vital signs"> vital signs</a> </p> <a href="https://publications.waset.org/abstracts/64807/effect-of-lullabies-on-babies-growth-and-development-vital-signs-and-hospitalization-times-in-the-neonatal-intensive-care-units" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64807.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">214</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">5</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">4</span> The Analysis of Noise Harmfulness in Public Utility Facilities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Monika%20Sobolewska">Monika Sobolewska</a>, <a href="https://publications.waset.org/abstracts/search?q=Aleksandra%20Majchrzak"> Aleksandra Majchrzak</a>, <a href="https://publications.waset.org/abstracts/search?q=Bartlomiej%20Chojnacki"> Bartlomiej Chojnacki</a>, <a href="https://publications.waset.org/abstracts/search?q=Katarzyna%20Baruch"> Katarzyna Baruch</a>, <a href="https://publications.waset.org/abstracts/search?q=Adam%20Pilch"> Adam Pilch</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main purpose of the study is to perform the measurement and analysis of noise harmfulness in public utility facilities. The World Health Organization reports that the number of people suffering from hearing impairment is constantly increasing. The most alarming is the number of young people occurring in the statistics. The majority of scientific research in the field of hearing protection and noise prevention concern industrial and road traffic noise as the source of health problems. As the result, corresponding standards and regulations defining noise level limits are enforced. However, there is another field uncovered by profound research – leisure time. Public utility facilities such as clubs, shopping malls, sport facilities or concert halls – they all generate high-level noise, being out of proper juridical control. Among European Union Member States, the highest legislative act concerning noise prevention is the Environmental Noise Directive 2002/49/EC. However, it omits the problem discussed above and even for traffic, railway and aircraft noise it does not set limits or target values, leaving these issues to the discretion of the Member State authorities. Without explicit and uniform regulations, noise level control at places designed for relaxation and entertainment is often in the responsibility of people having little knowledge of hearing protection, unaware of the risk the noise pollution poses. Exposure to high sound levels in clubs, cinemas, at concerts and sports events may result in a progressive hearing loss, especially among young people, being the main target group of such facilities and events. The first step to change this situation and to raise the general awareness is to perform reliable measurements the results of which will emphasize the significance of the problem. This project presents the results of more than hundred measurements, performed in most types of public utility facilities in Poland. As the most suitable measuring instrument for such a research, personal noise dosimeters were used to collect the data. Each measurement is presented in the form of numerical results including equivalent and peak sound pressure levels and a detailed description considering the type of the sound source, size and furnishing of the room and the subjective sound level evaluation. In the absence of a straight reference point for the interpretation of the data, the limits specified in EU Directive 2003/10/EC were used for comparison. They set the maximum sound level values for workers in relation to their working time length. The analysis of the examined problem leads to the conclusion that during leisure time, people are exposed to noise levels significantly exceeding safe values. As the hearing problems are gradually progressing, most people underplay the problem, ignoring the first symptoms. Therefore, an effort has to be made to specify the noise regulations for public utility facilities. Without any action, in the foreseeable future the majority of Europeans will be dealing with serious hearing damage, which will have a negative impact on the whole societies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=hearing%20protection" title="hearing protection">hearing protection</a>, <a href="https://publications.waset.org/abstracts/search?q=noise%20level%20limits" title=" noise level limits"> noise level limits</a>, <a href="https://publications.waset.org/abstracts/search?q=noise%20prevention" title=" noise prevention"> noise prevention</a>, <a href="https://publications.waset.org/abstracts/search?q=noise%20regulations" title=" noise regulations"> noise regulations</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20utility%20facilities" title=" public utility facilities"> public utility facilities</a> </p> <a href="https://publications.waset.org/abstracts/78647/the-analysis-of-noise-harmfulness-in-public-utility-facilities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/78647.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">223</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">3</span> Audience Members' Perspective-Taking Predicts Accurate Identification of Musically Expressed Emotion in a Live Improvised Jazz Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Omer%20Leshem">Omer Leshem</a>, <a href="https://publications.waset.org/abstracts/search?q=Michael%20F.%20Schober"> Michael F. Schober</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper introduces a new method for assessing how audience members and performers feel and think during live concerts, and how audience members' recognized and felt emotions are related. Two hypotheses were tested in a live concert setting: (1) that audience members’ cognitive perspective taking ability predicts their accuracy in identifying an emotion that a jazz improviser intended to express during a performance, and (2) that audience members' affective empathy predicts their likelihood of feeling the same emotions as the performer. The aim was to stage a concert with audience members who regularly attend live jazz performances, and to measure their cognitive and affective reactions during the performance as non-intrusively as possible. Pianist and Grammy nominee Andy Milne agreed, without knowing details of the method or hypotheses, to perform a full-length solo improvised concert that would include an ‘unusual’ piece. Jazz fans were recruited through typical advertising for New York City jazz performances. The event was held at the New School’s Glass Box Theater, the home of leading NYC jazz venue ‘The Stone.’ Audience members were charged typical NYC jazz club admission prices; advertisements informed them that anyone who chose to participate in the study would be reimbursed their ticket price after the concert. The concert, held in April 2018, had 30 attendees, 23 of whom participated in the study. Twenty-two minutes into the concert, the performer was handed a paper note with the instruction: ‘Perform a 3-5-minute improvised piece with the intention of conveying sadness.’ (Sadness was chosen based on previous music cognition lab studies, where solo listeners were less likely to select sadness as the musically-expressed emotion accurately from a list of basic emotions, and more likely to misinterpret sadness as tenderness). Then, audience members and the performer were invited to respond to a questionnaire from a first envelope under their seat. Participants used their own words to describe the emotion the performer had intended to express, and then to select the intended emotion from a list. They also reported the emotions they had felt while listening using Izard’s differential emotions scale. The concert then continued as usual. At the end, participants answered demographic questions and Davis’ interpersonal reactivity index (IRI), a 28-item scale designed to assess both cognitive and affective empathy. Hypothesis 1 was supported: audience members with greater cognitive empathy were more likely to accurately identify sadness as the expressed emotion. Moreover, audience members who accurately selected ‘sadness’ reported feeling marginally sadder than people who did not select sadness. Hypotheses 2 was not supported; audience members with greater affective empathy were not more likely to feel the same emotions as the performer. If anything, members with lower cognitive perspective-taking ability had marginally greater emotional overlap with the performer, which makes sense given that these participants were less likely to identify the music as sad, which corresponded with the performer’s actual feelings. Results replicate findings from solo lab studies in a concert setting and demonstrate the viability of exploring empathy and collective cognition in improvised live performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audience" title="audience">audience</a>, <a href="https://publications.waset.org/abstracts/search?q=cognition" title=" cognition"> cognition</a>, <a href="https://publications.waset.org/abstracts/search?q=collective%20cognition" title=" collective cognition"> collective cognition</a>, <a href="https://publications.waset.org/abstracts/search?q=emotion" title=" emotion"> emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=empathy" title=" empathy"> empathy</a>, <a href="https://publications.waset.org/abstracts/search?q=expressed%20emotion" title=" expressed emotion"> expressed emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=felt%20emotion" title=" felt emotion"> felt emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=live%20performance" title=" live performance"> live performance</a>, <a href="https://publications.waset.org/abstracts/search?q=recognized%20emotion" title=" recognized emotion"> recognized emotion</a> </p> <a href="https://publications.waset.org/abstracts/102956/audience-members-perspective-taking-predicts-accurate-identification-of-musically-expressed-emotion-in-a-live-improvised-jazz-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102956.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">132</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2</span> Classical Improvisation Facilitating Enhanced Performer-Audience Engagement and a Mutually Developing Impulse Exchange with Concert Audiences</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pauliina%20Haustein">Pauliina Haustein</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Improvisation was part of Western classical concert culture and performers’ skill sets until early 20th century. Historical accounts, as well as recent studies, indicate that improvisatory elements in the programme may contribute specifically towards the audiences’ experience of enhanced emotional engagement during the concert. This paper presents findings from the author’s artistic practice research, which explored re-introducing improvisation to Western classical performance practice as a musician (cellist and ensemble partner/leader). In an investigation of four concert cycles, the performer-researcher sought to gain solo and chamber music improvisation techniques (both related to and independent of repertoire), conduct ensemble improvisation rehearsals, design concerts with an improvisatory approach, and reflect on interactions with audiences after each concert. Data was collected through use of reflective diary, video recordings, measurement of sound parameters, questionnaires, a focus group, and interviews. The performer’s empirical experiences and findings from audience research components were juxtaposed and interrogated to better understand the (1) rehearsal and planning processes that enable improvisatory elements to return to Western classical concert experience and (2) the emotional experience and type of engagement that occur throughout the concert experience for both performer and audience members. This informed the development of a concert model, in which a programme of solo and chamber music repertoire and improvisations were combined according to historically evidenced performance practice (including free formal solo and ensemble improvisations based on audience suggestions). Inspired by historical concert culture, where elements of risk-taking, spontaneity, and audience involvement (such as proposing themes for fantasies) were customary, this concert model invited musicians to contribute to the process personally and creatively at all stages, from programme planning, and throughout the live concert. The type of democratic, personal, creative, and empathetic collaboration that emerged, as a result, appears unique in Western classical contexts, rather finding resonance in jazz ensemble, drama, or interdisciplinary settings. The research identified features of ensemble improvisation, such as empathy, emergence, mutual engagement, and collaborative creativity, that became mirrored in audience’s responses, generating higher levels of emotional engagement, empathy, inclusivity, and a participatory, co-creative experience. It appears that duringimprovisatory moments in the concert programme, audience members started feeling more like active participants in za\\a creative, collaborative exchange and became stakeholders in a deeper phenomenon of meaning-making and narrativization. Examining interactions between all involved during the concert revealed that performer-audience impulse exchange occurred on multiple levels of awareness and seemed to build upon each other, resulting in particularly strong experiences of both performer and audience’s engagement. This impact appeared especially meaningful for audience members who were seldom concertgoers and reported little familiarity with classical music. The study found that re-introducing improvisatory elements to Western classical concert programmes has strong potential in increasing audience’s emotional engagement with the musical performance, enabling audience members to connect more personally with the individual performers, and in reaching new-to-classical-music audiences. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20research" title="artistic research">artistic research</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20engagement" title=" audience engagement"> audience engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20experience" title=" audience experience"> audience experience</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20improvisation" title=" classical improvisation"> classical improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=ensemble%20improvisation" title=" ensemble improvisation"> ensemble improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20engagement" title=" emotional engagement"> emotional engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisatory%20approach" title=" improvisatory approach"> improvisatory approach</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20performance" title=" musical performance"> musical performance</a>, <a href="https://publications.waset.org/abstracts/search?q=practice%20research" title=" practice research"> practice research</a> </p> <a href="https://publications.waset.org/abstracts/145986/classical-improvisation-facilitating-enhanced-performer-audience-engagement-and-a-mutually-developing-impulse-exchange-with-concert-audiences" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/145986.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">128</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1</span> Towards Better Integration: Qualitative Study on Perceptions of Russian-Speaking Immigrants in Australia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Oleg%20Shovkovyy">Oleg Shovkovyy</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research conducted in response to one of the most pressing questions on the agenda of many public administration offices around the world: “What could be done for better integration and assimilation of immigrants into hosting communities?” In author’s view, the answer could be suggested by immigrants themselves. They, often ‘bogged down in the past,’ snared by own idols and demons, perceive things differently, which, in turn, may result in their inability to integrate smoothly into hosting communities. Brief literature review suggests that perceptions of immigrants are completely neglected or something unsought in the current research on migrants, which, often, based on opinion polls by members of hosting communities themselves or superficial research data by various research organizations. Even those specimens that include voices of immigrants, unlikely to shed any additional light onto the problem simply because certain things are not made to speak out loud, especially to those in whose hands immigrants’ fate is (authorities). In this regard, this qualitative study, conducted by an insider to a few Russian-speaking communities, represents a unique opportunity for all stakeholders to look at the question of integration through the eyes of immigrants, from a different perspective and thus, makes research findings especially valuable for better understanding of the problem. Case study research employed ethnographic methods of gathering data where, approximately 200 Russian-speaking immigrants of first and second generations were closely observed by the Russian-speaking researcher in their usual setting, for eight months, and at different venues. The number of informal interviews with 27 key informants, with whom the researcher managed to establish a good rapport and who were keen enough to share their experiences voluntarily, were conducted. The field notes were taken at 14 locations (study sites) within the Brisbane region of Queensland, Australia. Moreover, all this time, researcher lived in dwelling of one of the immigrants and was an active participant in the social life (worship, picnics, dinners, weekend schools, concerts, cultural events, social gathering, etc.) of observed communities, whose members, to a large extent, belong to various religious lines of the Russian and Protestant Church. It was found that the majority of immigrants had experienced some discrimination in matters of hiring, employment, recognition of educational qualifications from home countries, and simply felt a sort of dislike from society in various everyday situations. Many noted complete absences or very limited state assistance in terms of employment, training, education, and housing. For instance, the Australian Government Department of Human Services not only does not stimulate job search but, on the contrary, encourages to refuse short-term works and employment. On the other hand, offered free courses on adaptation, and the English language proved to be ineffective and unpopular amongst immigrants. Many interviewees have reported overstated requirements for English proficiency and local work experience, whereas it was not critical for the given task or job. Based on the result of long-term monitoring, the researcher also had the courage to assert the negative and decelerating roles of immigrants’ communities, particularly religious communities, on processes of integration and assimilation. The findings suggest that governments should either change current immigration policies in the direction of their toughening or to take more proactive and responsible role in dealing with immigrant-related issues; for instance, increasing assistance and support to all immigrants and probably, paying more attention to and taking stake in managing and organizing lives of immigrants’ communities rather, simply leaving it all to chance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Australia" title="Australia">Australia</a>, <a href="https://publications.waset.org/abstracts/search?q=immigration" title=" immigration"> immigration</a>, <a href="https://publications.waset.org/abstracts/search?q=integration" title=" integration"> integration</a>, <a href="https://publications.waset.org/abstracts/search?q=perceptions" title=" perceptions"> perceptions</a> </p> <a href="https://publications.waset.org/abstracts/81493/towards-better-integration-qualitative-study-on-perceptions-of-russian-speaking-immigrants-in-australia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81493.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">220</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET celebrates its 16th foundational anniversary</a></li> 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