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musical</title> <meta name="description" content="Search results for: traditional musical"> <meta name="keywords" content="traditional musical"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="traditional musical"> <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> 5141</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: traditional musical</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5141</span> The Investigation of Psychological Motives of Creative Abilities in the Omani Musical Intelligence</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammed%20Talib%20Alkiyumi">Mohammed Talib Alkiyumi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Sultanate of Oman is characterized by a huge musical heritage that remains mostly preserved. 142 different traditional musical genres and styles (funun) have been registered in the Sultanate. This large number is a unique phenomenon that is worthy of attention and study. These genres and styles are different from others in their origins, rhythms, melodies, poetry, dance movements, etc. Certainly, Oman is exposed to other cultures and there is a variety of ethnicities in the Sultanate; however, this musical diversity is mostly an Omani product. This paper investigates the psychological motives behind Omani musical creativity. This qualitative study is based on relevant documents, as well as an analysis of Omani performance in those genres through documentary films and direct observations. Musical genres are performed in social events such as weddings and celebrations; however, research has shown psychological motives that motivated Omani people to create these various genres, such as provocation of enthusiasm, meditation, religious motivations, poetic competition, and emotional motivation. For each motive, musical genres have been presented. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20musical" title="traditional musical">traditional musical</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20intelligence" title=" musical intelligence"> musical intelligence</a>, <a href="https://publications.waset.org/abstracts/search?q=Sultanate%20of%20Oman" title=" Sultanate of Oman"> Sultanate of Oman</a> </p> <a href="https://publications.waset.org/abstracts/151295/the-investigation-of-psychological-motives-of-creative-abilities-in-the-omani-musical-intelligence" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/151295.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">103</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5140</span> The Traditional Roles and Place of Indigenous Musical Practices in Contemporary African Society</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Benjamin%20Obeghare%20%20Izu">Benjamin Obeghare Izu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Africa, indigenous musical practices are the focal point in which most cultural practices revolve, and they are the conduit mainly used in transmitting Indigenous knowledge and values. They serve as a means of documenting, preserving, transmitting indigenous knowledge, and re-enacting their historical, social, and cultural affinity. Indigenous musical practices also serve as a repository for indigenous knowledge and artistic traditions. However, these indigenous musical practices and the resulting cultural ideals are confronted with substantial challenges in the twenty-first century from contemporary cultural influence. Additionally, indigenous musical practices' educational and cultural purposes have been impacted by the broad monetisation of the arts in contemporary society. They are seen as objects of entertainment. Some young people are today unaware of their cultural roots and are losing their cultural identity due to these influences and challenges. In order to help policymakers raise awareness of and encourage the use of indigenous knowledge and musical practices among African youth and scholars, this study is in response to the need to explore the components and functions of the indigenous knowledge system, values, and musical tradition in Africa. The study employed qualitative research methods, utilising interviews, participant observation, and conducting related literature as data collection methods. It examines the indigenous musical practices in the Oba of Benin Royal Igue festival among the Benin people in Edo state, Nigeria, and the Ovwuwve festival observed by the Abraka people in Delta state, Nigeria. The extent to which the indigenous musical practices convey and protect indigenous knowledge and cultural values are reflected in the musical practices of the cultural festivals. The study looks at how indigenous musical arts are related to one another and how that affects how indigenous knowledge is transmitted and preserved. It makes recommendations for how to increase the use of indigenous knowledge and values and their fusion with contemporary culture. The study contributes significantly to ethnomusicology by showing how African traditional music traditions support other facets of culture and how indigenous knowledge might be helpful in contemporary society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=African%20musical%20practices" title="African musical practices">African musical practices</a>, <a href="https://publications.waset.org/abstracts/search?q=African%20music%20and%20dance" title=" African music and dance"> African music and dance</a>, <a href="https://publications.waset.org/abstracts/search?q=African%20society" title=" African society"> African society</a>, <a href="https://publications.waset.org/abstracts/search?q=indigenous%20musical%20practices" title=" indigenous musical practices"> indigenous musical practices</a> </p> <a href="https://publications.waset.org/abstracts/154700/the-traditional-roles-and-place-of-indigenous-musical-practices-in-contemporary-african-society" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/154700.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">115</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5139</span> A Possible Determinant of Musical Preference in Big Five Personality Traits</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Peter%20S.%20Kim">Peter S. Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The increasing availability of music facilitated by new technology and open sourcing has eliminated many traditional limiting factors in musical taste, creating a culture of choice. This study tested 191 international subjects, mostly young adults more decisively shaped by emerging technologies like Facebook, the platform for the study. Using an aggregated Big Five personality test, subjects were asked to self-report on questions related to extraversion, agreeableness, conscientiousness, neuroticism, and openness. Subsequently, subjects listened to five pairs of musical works reflecting opposite extremes of one of five musical qualities: tempo (fast/slow), complexity (simple/complex), degree of dissonance (tonal/atonal), familiarity (familiar/unfamiliar), and extra-musical significance (significant/not significant). Subjects were then asked to record listening times and preferences among the selections. Strikingly, this study shows a relatively high positive correlation between agreeableness and musical preferences (predicting preferences for simple, familiar, and fast music), as compared to extraversion, openness, conscientiousness, and neuroticism. Thus, this research suggests that the not yet well-understood relationship between personality traits and musical qualities merits further study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20perception" title="music perception">music perception</a>, <a href="https://publications.waset.org/abstracts/search?q=psychology" title=" psychology"> psychology</a>, <a href="https://publications.waset.org/abstracts/search?q=cognition" title=" cognition"> cognition</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20preference" title=" musical preference"> musical preference</a> </p> <a href="https://publications.waset.org/abstracts/27858/a-possible-determinant-of-musical-preference-in-big-five-personality-traits" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/27858.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">314</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">5138</span> The Musical Imagination: Re-Imagining a Sound Education through Musical Boundary Play</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michael%20J.%20Cutler">Michael J. Cutler</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents what musical boundary play can look like when beginning music learners work with professional musicians with an emphasis on composition. Music education can be re-imagined through the lenses of boundary objects and boundary play by engaging non-professional musicians in collaborative sound creation, improvisation and composition along with professional musicians. To the author’s best knowledge, no similar study exists on boundary objects and boundary play in music education. The literature reviewed for this paper explores the epistemological perspectives connected to music education and situates musical boundary play as an alternative approach to the more prevalent paradigms of music education in K-12 settings. A qualitative multiple-case study design was chosen to seek an in-depth understanding of the role of boundary objects and musical boundary play. The constant comparative method was utilized in analyzing and interpreting the data resulting in the development of effective, transferable theory. The study gathered relevant data using audio and video recordings of musical boundary play, artifacts, interviews, and observations. Findings from this study offer insight into the development of a more inclusive music education and yield a pedagogical framework for music education based on musical boundary play. Through the facilitation of musical boundary play, it is possible for music learners to experience musical sound creation, improvisation and composition in the same way an instrumentalist or vocalist would without the acquisition of complex component operations required to play a traditional instrument or sing in a proficient manner. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=boundary%20play" title="boundary play">boundary play</a>, <a href="https://publications.waset.org/abstracts/search?q=boundary%20objects" title=" boundary objects"> boundary objects</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20pedagogy" title=" music pedagogy"> music pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20boundary%20play" title=" musical boundary play"> musical boundary play</a> </p> <a href="https://publications.waset.org/abstracts/125491/the-musical-imagination-re-imagining-a-sound-education-through-musical-boundary-play" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/125491.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">126</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5137</span> Musical Culture of Sea Gypsies in Bulon Archipelago</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rewadee%20Ungpho">Rewadee Ungpho</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research on the musical culture of Sea Gypsies in Bulon archipelago, Satun Province, is considered as an anthropology research. Research objectives were to study the history and information culture and also to find the basis information for the restoration and preservation of the music culture of Sea Gypsies who live in Bulon archipelago. Findings of the research are as follows: 1) Musical characteristics of Sea Gypsies in Bulon archipelago is still traditional. It does not mix with any external musical influence such as musical instruments, language, and other musical characteristics. There are various kind of songs which can play a complete melody and rhythm, including a total of 8 songs as follows; Lagu-Ayam-Dide, Lagu-Sitipayong, Lagu-Bulong-pute, Lagu-Chemamat, Laguduwo, Lagu-Ma-I-nang, Lagu-Mana-Ikan. 2) The roles of culture/music in Bulon archipelago correlate with Urak Lawoi society. They use music in the ceremony of votive offering, in the floating ceremony held in Lipe Island and in various festivals. Therefore, music is a spiritual sacrifice and a spiritual instrument that conveys an Urak Lawoi, which makes the Urak Lawoi still unique and has a sense of ethnic identity. 3) The inheritance of Urak Lawoi music is still being made in a traditional way, as an oral tradition with no record. The teaching and learning must be one on one, and it required length of time to practice and accumulate the knowledge. Due to above mentioned reasons, a few people attend in the inheritance. Those who are interested may not be able to practice constantly. As a result, there is only a few, or even none, descendants left. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sea%20gypsy" title="sea gypsy">sea gypsy</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=Bulon%20archipelago" title=" Bulon archipelago"> Bulon archipelago</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnomusicology" title=" ethnomusicology"> ethnomusicology</a> </p> <a href="https://publications.waset.org/abstracts/4857/musical-culture-of-sea-gypsies-in-bulon-archipelago" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/4857.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">371</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5136</span> Transporting the Setting of the Beloved Musical, Peter Pan, to Colonial India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=R.%20Roznowski">R. Roznowski</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper is an examination of a recent Michigan State University production of the classic musical, Peter Pan. In this production, approved by the licensor, the action was moved to Colonial India transforming the musical’s message to include themes of cultural identity, racism, classism and ultimately inclusion. Major character changes and casting decisions expanded the scope of the musical while still retaining the original book and score. Major changes included reframing the Darlings as British Colonials stationed in India. The Lost Boy’s as mixed race children of British officials and their Indian nannies, the Pirates were a female 'fishing fleet' a group of women sent from England to keep the British soldiers from mixing with the locals and the Michigan State University Bhangra Dance Team played the Indians in the production. Traditional Indian theatrical techniques were also employed in the storytelling. The presentation will cover the key changes to the musical, the rehearsal process, historical accuracy and audience reaction. A final analysis of cultural appropriation versus historical reframing will be examined. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=directing" title="directing">directing</a>, <a href="https://publications.waset.org/abstracts/search?q=history" title=" history"> history</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20theatre" title=" musical theatre"> musical theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=producing" title=" producing"> producing</a> </p> <a href="https://publications.waset.org/abstracts/81134/transporting-the-setting-of-the-beloved-musical-peter-pan-to-colonial-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81134.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">251</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">5135</span> Attentional Differences in Musical Recall and Improvisation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Krzysztof%20T.%20Piotrowski">Krzysztof T. Piotrowski</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main goal of the research was to investigate differences in attention in two kinds of musical performance - recall and improvisation. Musical recall is a sample of convergent production that requires intensively focused attention. Inversely, musical improvisation is a divergent task and probably requires a different way of attentional control. The study was designed in dual task paradigm. Participants were to remember a simple melody and then recall or improvise, simultaneously performing the spatial attentional test on computer screen. The result shows that improvising participants find spatial goals in more disperse way. The conclusion is that musical improvisation requires extensification of attention to occur. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=attention" title="attention">attention</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=divergent%20task" title=" divergent task"> divergent task</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20improvisation" title=" musical improvisation"> musical improvisation</a> </p> <a href="https://publications.waset.org/abstracts/60560/attentional-differences-in-musical-recall-and-improvisation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60560.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">233</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5134</span> The Subcategories of Folklore Dance for Children as Didactic Games for Developing Musical Ability in the Preschool Period </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eudjen%20Cinc">Eudjen Cinc</a>, <a href="https://publications.waset.org/abstracts/search?q=Mircea%20Maran"> Mircea Maran</a>, <a href="https://publications.waset.org/abstracts/search?q=Jasmina%20Stolic"> Jasmina Stolic</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Viewed through the prism of folkloristics – ethnomusicology, the majority of didactic musical games belong to the category of folklore creative work of children, such games can be extremely useful for the development of musical ability in the preschool age. The paper gives a number of examples from the Romanian children folklore which were used in practice. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=musical%20games" title="musical games">musical games</a>, <a href="https://publications.waset.org/abstracts/search?q=children%20folklore" title=" children folklore"> children folklore</a>, <a href="https://publications.waset.org/abstracts/search?q=rhythmical%20system" title=" rhythmical system"> rhythmical system</a>, <a href="https://publications.waset.org/abstracts/search?q=melodica" title=" melodica"> melodica</a> </p> <a href="https://publications.waset.org/abstracts/20125/the-subcategories-of-folklore-dance-for-children-as-didactic-games-for-developing-musical-ability-in-the-preschool-period" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20125.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">703</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5133</span> Spatial Audio Player Using Musical Genre Classification</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jun-Yong%20Lee">Jun-Yong Lee</a>, <a href="https://publications.waset.org/abstracts/search?q=Hyoung-Gook%20Kim"> Hyoung-Gook Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, we propose a smart music player that combines the musical genre classification and the spatial audio processing. The musical genre is classified based on content analysis of the musical segment detected from the audio stream. In parallel with the classification, the spatial audio quality is achieved by adding an artificial reverberation in a virtual acoustic space to the input mono sound. Thereafter, the spatial sound is boosted with the given frequency gains based on the musical genre when played back. Experiments measured the accuracy of detecting the musical segment from the audio stream and its musical genre classification. A listening test was performed based on the virtual acoustic space based spatial audio processing. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=automatic%20equalization" title="automatic equalization">automatic equalization</a>, <a href="https://publications.waset.org/abstracts/search?q=genre%20classification" title=" genre classification"> genre classification</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20segment%20detection" title=" music segment detection"> music segment detection</a>, <a href="https://publications.waset.org/abstracts/search?q=spatial%20audio%20processing" title=" spatial audio processing"> spatial audio processing</a> </p> <a href="https://publications.waset.org/abstracts/7561/spatial-audio-player-using-musical-genre-classification" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7561.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">429</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5132</span> Creative Practice and Consciousness in Juju Music: A Nigerian Musical and Cultural Perspective </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olupemi%20E.%20Oludare">Olupemi E. Oludare</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper investigates the creative practice engaged in Juju music, a Nigerian Neo-traditional genre of the Yoruba, and its influence on the consciousness of societal praxis. It takes a musical and cultural perspective, as representational indices of how the people’s religious, social, educational, and political consciousness is expressed in their music. The study adopts the historical cum descriptive design in its methodology, tracing the historical development of Juju music, the appropriation of musical and cultural materials in its creative process, and a descriptive analysis of its musical practice, in order to substantiate the role and function of Juju music and its musicians in the political, philosophical, and social consciousness of Nigeria’s pre- and post-independence epoch. Data were collected through oral interviews of selected Juju practitioners, stakeholders, and enthusiasts. It also employed the use of discography of Juju musicians. This paper discusses musical factors such as form, melodic and rhythmic patterns, and thematic materials, while highlighting cultural factors such as linguistic elements, with textual analysis, as a conscious avenue of expression. The study revealed that Juju musicians composed their music by engaging both indigenous and foreign musical materials, as a means of creative practice for musical entertainment, while expressing the people’s consciousness of their beliefs, values, and socio-political issues, hence the music functioning as a vehicle for social commentaries. The popularization and commercialization of Juju music brought the musicians national and international accolades, subsequently attracting contributions from contemporary musicians, which led to innovations of new brands, such as ‘Afro-Juju’, ‘Gospel-Juju’, ‘Hip-Hop-Juju’, etc., albeit retaining the basic musical elements of its progenitor, as a conscious music for socio-cultural functions. This study concludes that Juju music and its musicians remain germane in the musical scene of the nation’s social, educational, and political terrain, especially in the current Nigerian democratic climate. This paper recommends the promotion and patronage of the Juju music in its original form, to prevent its decline in current times, since it serves as an enrichment of national identity both in Nigeria, and Internationally. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=appropriation" title="appropriation">appropriation</a>, <a href="https://publications.waset.org/abstracts/search?q=consciousness" title=" consciousness"> consciousness</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20practice" title=" creative practice"> creative practice</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20identity" title=" national identity"> national identity</a>, <a href="https://publications.waset.org/abstracts/search?q=neo-traditional" title=" neo-traditional"> neo-traditional</a> </p> <a href="https://publications.waset.org/abstracts/28597/creative-practice-and-consciousness-in-juju-music-a-nigerian-musical-and-cultural-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/28597.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">426</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">5131</span> Musical Composition by Computer with Inspiration from Files of Different Media Types</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cassandra%20Pratt%20Romero">Cassandra Pratt Romero</a>, <a href="https://publications.waset.org/abstracts/search?q=Andres%20Gomez%20de%20Silva%20Garza"> Andres Gomez de Silva Garza</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper describes a computational system designed to imitate human inspiration during musical composition. The system is called MIS (Musical Inspiration Simulator). The MIS system is inspired by media to which human beings are exposed daily (visual, textual, or auditory) to create new musical compositions based on the emotions detected in said media. After building the system we carried out a series of evaluations with volunteer users who used MIS to compose music based on images, texts, and audio files. The volunteers were asked to judge the harmoniousness and innovation in the system's compositions. An analysis of the results points to the difficulty of computational analysis of the characteristics of the media to which we are exposed daily, as human emotions have a subjective character. This observation will direct future improvements in the system. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=human%20inspiration" title="human inspiration">human inspiration</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20composition" title=" musical composition"> musical composition</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20composition%20by%20computer" title=" musical composition by computer"> musical composition by computer</a>, <a href="https://publications.waset.org/abstracts/search?q=theory%20of%20sensation%20and%20human%20perception" title=" theory of sensation and human perception"> theory of sensation and human perception</a> </p> <a href="https://publications.waset.org/abstracts/90897/musical-composition-by-computer-with-inspiration-from-files-of-different-media-types" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/90897.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">183</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5130</span> Creativity and Expressive Interpretation of Musical Drama in Children with Special Needs (Down Syndrome) in Special Schools Yayasan Pendidikan Anak Cacat, Medan, North Sumatera </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Junita%20Batubara">Junita Batubara</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Children with special needs, especially those with disability in mental, physical or social/emotional interactions, are marginalized. Many people still view them as troublesome, inconvenience, having learning difficulties, unproductive and burdensome to society. This study intends to investigate; how musical drama can develop the ability to control the coordination of mental functions; how musical dramas can assist children to work together; how musical dramas can assist to maintain the child's emotional and physical health; how musical dramas can improve children creativity. The objectives of the research are: To know whether musical drama can control the coordination of mental function of children; to know whether musical drama can improve communication ability and expression of children; to know whether musical drama can help children work with people around them; to find out if musical dramas can develop the child's emotional and physical health; to find out if musical drama can improve children's creativity. The study employed a qualitative research approach. Data was collecting by listening, observing in depth through public hearings that select the key informants who were teachers and principals, parents and children. The data obtained from each public hearing was then processed (reduced), conclusion drawing/verification, presentation of data (data display). Furthermore, the model obtained was implementing for musical performance, where the benefits of the show are: musical drama can improve language skills; musical dramas are capable of developing memory and storage of information; developing communication skills and express themselves; helping children work together; assisting emotional and physical health; enhancing creativity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=children%20Down%20syndrome" title="children Down syndrome">children Down syndrome</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=drama%20script" title=" drama script"> drama script</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/75400/creativity-and-expressive-interpretation-of-musical-drama-in-children-with-special-needs-down-syndrome-in-special-schools-yayasan-pendidikan-anak-cacat-medan-north-sumatera" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/75400.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">241</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5129</span> Mikrophonie I (1964) by Karlheinz Stockhausen - Between Idea and Auditory Image</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Justyna%20Humi%C4%99cka-Jakubowska">Justyna Humięcka-Jakubowska </a> </p> <p class="card-text"><strong>Abstract:</strong></p> 1. Background in music analysis. Traditionally, when we think about a composer’s sketches, the chances are that we are thinking in terms of the working out of detail, rather than the evolution of an overall concept. Since music is a “time art’, it follows that questions of a form cannot be entirely detached from considerations of time. One could say that composers tend to regard time either as a place gradually and partially intuitively filled, or they can look for a specific strategy to occupy it. In my opinion, one thing that sheds light on Stockhausen's compositional thinking is his frequent use of 'form schemas', that is often a single-page representation of the entire structure of a piece. 2. Background in music technology. Sonic Visualiser is a program used to study a musical recording. It is an open source application for viewing, analysing, and annotating music audio files. It contains a number of visualisation tools, which are designed with useful default parameters for musical analysis. Additionally, the Vamp plugin format of SV supports to provide analysis such as for example structural segmentation. 3. Aims. The aim of my paper is to show how SV may be used to obtain a better understanding of the specific musical work, and how the compositional strategy does impact on musical structures and musical surfaces. I want to show that ‘traditional” music analytic methods don’t allow to indicate interrelationships between musical surface (which is perceived) and underlying musical/acoustical structure. 4. Main Contribution. Stockhausen had dealt with the most diverse musical problems by the most varied methods. A characteristic which he had never ceased to be placed at the center of his thought and works, it was the quest for a new balance founded upon an acute connection between speculation and intuition. In the case with Mikrophonie I (1964) for tam-tam and 6 players Stockhausen makes a distinction between the "connection scheme", which indicates the ground rules underlying all versions, and the form scheme, which is associated with a particular version. The preface to the published score includes both the connection scheme, and a single instance of a "form scheme", which is what one can hear on the CD recording. In the current study, the insight into the compositional strategy chosen by Stockhausen was been compared with auditory image, that is, with the perceived musical surface. Stockhausen's musical work is analyzed both in terms of melodic/voice and timbre evolution. 5. Implications The current study shows how musical structures have determined of musical surface. My general assumption is this, that while listening to music we can extract basic kinds of musical information from musical surfaces. It is shown that an interactive strategies of musical structure analysis can offer a very fruitful way of looking directly into certain structural features of music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=automated%20analysis" title="automated analysis">automated analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=composer%27s%20strategy" title=" composer's strategy"> composer's strategy</a>, <a href="https://publications.waset.org/abstracts/search?q=mikrophonie%20I" title=" mikrophonie I"> mikrophonie I</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20surface" title=" musical surface"> musical surface</a>, <a href="https://publications.waset.org/abstracts/search?q=stockhausen" title=" stockhausen"> stockhausen</a> </p> <a href="https://publications.waset.org/abstracts/28768/mikrophonie-i-1964-by-karlheinz-stockhausen-between-idea-and-auditory-image" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/28768.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">297</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5128</span> A Discourse on the Rhythmic Pattern Employed in Yoruba Sakara Music of Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Oludare%20Olupemi%20Ezekiel">Oludare Olupemi Ezekiel</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research examines the rhythmic structure of Sakara music by tracing its roots and analyzing the various rhythmic patterns of this neo-traditional genre, as well as the contributions of the major exponents and contemporary practitioners, using these as a model for understanding and establishing African rhythms. Biography of the major exponents and contemporary practitioners, interviews and participant observational methods were used to elicit information. Samples of the genre which were chosen at random were transcribed, notated and analyzed for academic use and documentation. The research affirmed that rhythms such as the Hemiola, Cross-rhythm, Clave or Bell rhythm, Percussive, Speech and Melodic rhythm and other relevant rhythmic theories were prevalent and applicable to Sakara music, while making important contributions to musical scholarship through its analysis of the music. The analysis and discussions carried out in the research pointed towards a conclusion that the Yoruba musicians are guided by some preconceptions and sound musical considerations in making their rhythmic patterns, used as compositional techniques and not mere incidental occurrence. These rhythmic patterns, with its consequential socio-cultural connotations, enhance musical values and national identity in Nigeria. The study concludes by recommending that musicologists need to carry out more research into this and other neo-traditional genres in order to advance the globalisation of African music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=compositional%20techniques" title="compositional techniques">compositional techniques</a>, <a href="https://publications.waset.org/abstracts/search?q=globalisation" title=" globalisation"> globalisation</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=neo-traditional" title=" neo-traditional"> neo-traditional</a>, <a href="https://publications.waset.org/abstracts/search?q=rhythmic%20theory" title=" rhythmic theory"> rhythmic theory</a>, <a href="https://publications.waset.org/abstracts/search?q=Sakara%20music" title=" Sakara music"> Sakara music</a> </p> <a href="https://publications.waset.org/abstracts/31287/a-discourse-on-the-rhythmic-pattern-employed-in-yoruba-sakara-music-of-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/31287.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">442</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">5127</span> The Next Game Changer: 3-D Printed Musical Instruments</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Leonardo%20Ko">Leonardo Ko</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In an era marked by rapid technological innovation, the classical instrument industry nonetheless has not seen significant change. Is this a matter of stubborn traditionalism, or do old, conventional instruments really sound better? Because of the widespread use of 3-D printing, it seems feasible to produce modern, 3-D printed instruments that adhere to the basic conventions of standard construction. This study aimed to design and create a practical, effective 3-D printed acoustic violin. A cost-benefit analysis of materials and design is presented in addition to a report on sound tests in which a pool of professional musicians compared the traditional violin to its synthetic counterpart with regard to acoustic properties. With a low-cost yet functional instrument, musicians of all levels would be able to afford instruments with much greater ease; the present study thus hopes to contribute to efforts to increase the accessibility of classical music education. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=acoustic%20musical%20instrument" title="acoustic musical instrument">acoustic musical instrument</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20musical%20education" title=" classical musical education"> classical musical education</a>, <a href="https://publications.waset.org/abstracts/search?q=low-cost" title=" low-cost"> low-cost</a>, <a href="https://publications.waset.org/abstracts/search?q=3-D%20printing" title=" 3-D printing"> 3-D printing</a> </p> <a href="https://publications.waset.org/abstracts/39307/the-next-game-changer-3-d-printed-musical-instruments" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/39307.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">229</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">5126</span> Predictive Relationship between Motivation Strategies and Musical Creativity of Secondary School Music Students</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lucy%20Lugo%20Mawang">Lucy Lugo Mawang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Educational Psychologists have highlighted the significance of creativity in education. Likewise, a fundamental objective of music education concern the development of students’ musical creativity potential. The purpose of this study was to determine the relationship between motivation strategies and musical creativity, and establish the prediction equation of musical creativity. The study used purposive sampling and census to select 201 fourth-form music students (139 females/ 62 males), mainly from public secondary schools in Kenya. The mean age of participants was 17.24 years (SD = .78). Framed upon self- determination theory and the dichotomous model of achievement motivation, the study adopted an ex post facto research design. A self-report measure, the Achievement Goal Questionnaire-Revised (AGQ-R) was used in data collection for the independent variable. Musical creativity was based on a creative music composition task and measured by the Consensual Musical Creativity Assessment Scale (CMCAS). Data collected in two separate sessions within an interval of one month. The questionnaire was administered in the first session, lasting approximately 20 minutes. The second session was for notation of participants’ creative composition. The results indicated a positive correlation r(199) = .39, p ˂ .01 between musical creativity and intrinsic music motivation. Conversely, negative correlation r(199) = -.19, p < .01 was observed between musical creativity and extrinsic music motivation. The equation for predicting musical creativity from music motivation strategies was significant F(2, 198) = 20.8, p < .01, with R2 = .17. Motivation strategies accounted for approximately (17%) of the variance in participants’ musical creativity. Intrinsic music motivation had the highest significant predictive value (β = .38, p ˂ .01) on musical creativity. In the exploratory analysis, a significant mean difference t(118) = 4.59, p ˂ .01 in musical creativity for intrinsic and extrinsic music motivation was observed in favour of intrinsically motivated participants. Further, a significant gender difference t(93.47) = 4.31, p ˂ .01 in musical creativity was observed, with male participants scoring higher than females. However, there was no significant difference in participants’ musical creativity based on age. The study recommended that music educators should strive to enhance intrinsic music motivation among students. Specifically, schools should create conducive environments and have interventions for the development of intrinsic music motivation since it is the most facilitative motivation strategy in predicting musical creativity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=extrinsic%20music%20motivation" title="extrinsic music motivation">extrinsic music motivation</a>, <a href="https://publications.waset.org/abstracts/search?q=intrinsic%20music%20motivation" title=" intrinsic music motivation"> intrinsic music motivation</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20creativity" title=" musical creativity"> musical creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20composition" title=" music composition"> music composition</a> </p> <a href="https://publications.waset.org/abstracts/103585/predictive-relationship-between-motivation-strategies-and-musical-creativity-of-secondary-school-music-students" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/103585.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">154</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5125</span> The Golden Ratio as a Common ‘Topos’ of Architectural, Musical and Stochastic Research of Iannis Xenakis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nikolaos%20Mamalis">Nikolaos Mamalis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The work of the eminent architect and composer has undoubtedly been influenced both by his architecture and collaboration with Le Corbusier and by the conquests of the musical avant-garde of the 20th century (Schoenberg, Messian, Bartock, electroacoustic music). It is known that the golden mean and the Fibonacci sequence played a momentous role in the Architectural Avant-garde (Modulor) and expanded on musical pursuits. Especially in the 50s (serialism), it was a structural tool for composition. Xenakis' architectural and musical work (Sacrifice, Metastasis, Rebonds, etc.) received the influence of the Golden Section, as has been repeatedly demonstrated. However, the idea of this retrospective sequence and the reflection raised by the search for new proportions, both in the architectural and the musical work of Xenakis, was not limited to constituting a step, a workable formula that acted unifyingly with regard to the other parameters of the musical work, or as an aesthetic model that makes sense - philosophically and poetically - an anthropocentric dimension as in other composers (see Luigi Nono) ̇ triggered a qualitative leap, an opening of the composer to the assimilation of mathematical concepts and scientific types in music and the consolidation of new sound horizons of stochastic music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=golden%20ratio" title="golden ratio">golden ratio</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=space" title=" space"> space</a>, <a href="https://publications.waset.org/abstracts/search?q=stochastic%20music" title=" stochastic music"> stochastic music</a> </p> <a href="https://publications.waset.org/abstracts/183112/the-golden-ratio-as-a-common-topos-of-architectural-musical-and-stochastic-research-of-iannis-xenakis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/183112.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">52</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5124</span> On Musical Information Geometry with Applications to Sonified Image Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shannon%20Steinmetz">Shannon Steinmetz</a>, <a href="https://publications.waset.org/abstracts/search?q=Ellen%20Gethner"> Ellen Gethner</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, a theoretical foundation is developed for patterned segmentation of audio using the geometry of music and statistical manifold. We demonstrate image content clustering using conic space sonification. The algorithm takes a geodesic curve as a model estimator of the three-parameter Gamma distribution. The random variable is parameterized by musical centricity and centric velocity. Model parameters predict audio segmentation in the form of duration and frame count based on the likelihood of musical geometry transition. We provide an example using a database of randomly selected images, resulting in statistically significant clusters of similar image content. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sonification" title="sonification">sonification</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20information%20geometry" title=" musical information geometry"> musical information geometry</a>, <a href="https://publications.waset.org/abstracts/search?q=image" title=" image"> image</a>, <a href="https://publications.waset.org/abstracts/search?q=content%20extraction" title=" content extraction"> content extraction</a>, <a href="https://publications.waset.org/abstracts/search?q=automated%20quantification" title=" automated quantification"> automated quantification</a>, <a href="https://publications.waset.org/abstracts/search?q=audio%20segmentation" title=" audio segmentation"> audio segmentation</a>, <a href="https://publications.waset.org/abstracts/search?q=pattern%20recognition" title=" pattern recognition"> pattern recognition</a> </p> <a href="https://publications.waset.org/abstracts/133600/on-musical-information-geometry-with-applications-to-sonified-image-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133600.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">237</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5123</span> Using a Character’s Inner Monologue for Song Analysis </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Robert%20Roznowski">Robert Roznowski</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The thought process of the character is never more evident than when singing alone onstage. The composer scores the emotional state and the lyricist voices the inner conflict as the character shares with an audience her or his deepest feelings. It is at these moments that a character may be thought of as voicing her or his inner monologue. Using examples from several musical theatre songs, this presentation will look at a codified approach to analyze a song from a more psychological perspective. Using the clues from the score, traditional character analysis and a psychological-based scoring method an actor may explore more fully inhabit and express the sung and unsung thoughts of the character. The approach yields a richer and more complex approach to acting the song. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=acting" title="acting">acting</a>, <a href="https://publications.waset.org/abstracts/search?q=analysis" title=" analysis"> analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20theatre" title=" musical theatre"> musical theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=psychology" title=" psychology"> psychology</a> </p> <a href="https://publications.waset.org/abstracts/81133/using-a-characters-inner-monologue-for-song-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81133.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">479</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">5122</span> Analysis of Tempo Indications, Segmentations, and Musical Ideas in Mozart’s Piano Sonatas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Musical compositions are typically examined from various perspectives, with a focus on elements such as melody, harmony, and rhythm. This study provides a comprehensive analysis of tempo indications, segmentations, and musical ideas in Wolfgang Amadeus Mozart's piano sonatas, highlighting the intricate relationship between these elements and their contribution to the overall interpretative landscape of his works. Through a detailed examination of select sonatas, the research categorizes tempo markings and explores their implications for performance practice, emphasizing how Mozart's choices reflect his compositional intentions and the stylistic conventions of the Classical era. Additionally, the segmentation of musical phrases is analyzed to reveal patterns of thematic development and transition, demonstrating how Mozart employs structural techniques to enhance expressive depth. By synthesizing these aspects, the paper aims to offer insights into the complexities of Mozart's musical language, encouraging a deeper appreciation of his sonatas both in scholarly discourse and practical performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=Mozart" title=" Mozart"> Mozart</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=tempo" title=" tempo"> tempo</a>, <a href="https://publications.waset.org/abstracts/search?q=sonata" title=" sonata"> sonata</a> </p> <a href="https://publications.waset.org/abstracts/192298/analysis-of-tempo-indications-segmentations-and-musical-ideas-in-mozarts-piano-sonatas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192298.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">25</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5121</span> Musical Instruments Classification Using Machine Learning Techniques</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bhalke%20D.%20G.">Bhalke D. G.</a>, <a href="https://publications.waset.org/abstracts/search?q=Bormane%20D.%20S."> Bormane D. S.</a>, <a href="https://publications.waset.org/abstracts/search?q=Kharate%20G.%20K."> Kharate G. K.</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents classification of musical instrument using machine learning techniques. The classification has been carried out using temporal, spectral, cepstral and wavelet features. Detail feature analysis is carried out using separate and combined features. Further, instrument model has been developed using K-Nearest Neighbor and Support Vector Machine (SVM). Benchmarked McGill university database has been used to test the performance of the system. Experimental result shows that SVM performs better as compared to KNN classifier. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feature%20extraction" title="feature extraction">feature extraction</a>, <a href="https://publications.waset.org/abstracts/search?q=SVM" title=" SVM"> SVM</a>, <a href="https://publications.waset.org/abstracts/search?q=KNN" title=" KNN"> KNN</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20instruments" title=" musical instruments"> musical instruments</a> </p> <a href="https://publications.waset.org/abstracts/23369/musical-instruments-classification-using-machine-learning-techniques" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/23369.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">480</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5120</span> Music in Religion Culture of the Georgian Pentecostals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nino%20Naneishvili">Nino Naneishvili</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study of religious minorities and their musical culture has attracted scant academic attention in Georgia. Within wider Georgian society, it would seem that the focus of discourse to date has been on the traditional orthodox religion and its musical expression, with other forms of religious expression regarded as intrinsically less valuable. The goal of this article is to study Georgia's different religious and musical picture which, this time, is presented on the example of the Pentecostals. The first signs of the Pentecostal movement originated at the end of the 19th Century in the USA, and first appeared in Georgia as early as 1914. An ethnomusicological perspective allows the use of anthropological and sociological approaches. The basic methodology is an ethnographic method. This involved attending religious services, observation, in-depth interviews and musical material analysis. This analysis, based on a combined use of various theoretical and methodological approaches, reveals that Georgian Pentecostals, apart from polyphonic singing, are characterised by “ bi-musicality.“ This phenomenon together with Georgian three part polyphony combines vocalisation within “social polyphony.“ The concept of back stage and front stage is highlighted. Chanters also try to express national identity. In some cases however it has been observed that they abandon or conceal certain musical forms of expression which are considered central to Georgian identity. The famous hymn “Thou art a Vineyard” is a case in point. The reason given for this omission within the Georgian Pentecostal church is that within Pentecostal doctrine, God alone is the object of worship. Therefore there is no veneration of Saints as representatives of the Divine. In some cases informants denied the existence of this hymn, and others explain that the meaning conveyed to the Vineyard is that of Jesus Christ and not the Virgin Mary. Others stated that they loved Virgin Mary and were therefore free to sing this song outside church circles. The results of this study illustrates that one of the religious minorities in Georgia, the Pentecostals, are characterised by a deviation in musical thinking from Homo Polyphonicus. They actively change their form of musical worship to secondary ethno hearing – bi-musicality. This outcome is determined by both new religious thinking and the process of globalization. A significant principle behind this form of worship is the use of forms during worship which are acceptable and accessible to all. This naturally leads to the development of modern forms. Obtained material does not demonstrate a connection between traditional religious music in general. Rather, it constitutes an independent domain. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Georgia" title="Georgia">Georgia</a>, <a href="https://publications.waset.org/abstracts/search?q=globalization" title=" globalization"> globalization</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=pentecostal" title=" pentecostal "> pentecostal </a> </p> <a href="https://publications.waset.org/abstracts/37190/music-in-religion-culture-of-the-georgian-pentecostals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/37190.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">324</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">5119</span> Learning with Music: The Effects of Musical Tension on Long-Term Declarative Memory Formation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nawras%20Kurzom">Nawras Kurzom</a>, <a href="https://publications.waset.org/abstracts/search?q=Avi%20Mendelsohn"> Avi Mendelsohn</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The effects of background music on learning and memory are inconsistent, partly due to the intrinsic complexity and variety of music and partly to individual differences in music perception and preference. A prominent musical feature that is known to elicit strong emotional responses is musical tension. Musical tension can be brought about by building anticipation of rhythm, harmony, melody, and dynamics. Delaying the resolution of dominant-to-tonic chord progressions, as well as using dissonant harmonics, can elicit feelings of tension, which can, in turn, affect memory formation of concomitant information. The aim of the presented studies was to explore how forming declarative memory is influenced by musical tension, brought about within continuous music as well as in the form of isolated chords with varying degrees of dissonance/consonance. The effects of musical tension on long-term memory of declarative information were studied in two ways: 1) by evoking tension within continuous music pieces by delaying the release of harmonic progressions from dominant to tonic chords, and 2) by using isolated single complex chords with various degrees of dissonance/roughness. Musical tension was validated through subjective reports of tension, as well as physiological measurements of skin conductance response (SCR) and pupil dilation responses to the chords. In addition, music information retrieval (MIR) was used to quantify musical properties associated with tension and its release. Each experiment included an encoding phase, wherein individuals studied stimuli (words or images) with different musical conditions. Memory for the studied stimuli was tested 24 hours later via recognition tasks. In three separate experiments, we found positive relationships between tension perception and physiological measurements of SCR and pupil dilation. As for memory performance, we found that background music, in general, led to superior memory performance as compared to silence. We detected a trade-off effect between tension perception and memory, such that individuals who perceived musical tension as such displayed reduced memory performance for images encoded during musical tension, whereas tense music benefited memory for those who were less sensitive to the perception of musical tension. Musical tension exerts complex interactions with perception, emotional responses, and cognitive performance on individuals with and without musical training. Delineating the conditions and mechanisms that underlie the interactions between musical tension and memory can benefit our understanding of musical perception at large and the diverse effects that music has on ongoing processing of declarative information. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=musical%20tension" title="musical tension">musical tension</a>, <a href="https://publications.waset.org/abstracts/search?q=declarative%20memory" title=" declarative memory"> declarative memory</a>, <a href="https://publications.waset.org/abstracts/search?q=learning%20and%20memory" title=" learning and memory"> learning and memory</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20perception" title=" musical perception"> musical perception</a> </p> <a href="https://publications.waset.org/abstracts/168139/learning-with-music-the-effects-of-musical-tension-on-long-term-declarative-memory-formation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/168139.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">98</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5118</span> Musical Instrument Recognition in Polyphonic Audio Through Convolutional Neural Networks and Spectrograms</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rujia%20Chen">Rujia Chen</a>, <a href="https://publications.waset.org/abstracts/search?q=Akbar%20Ghobakhlou"> Akbar Ghobakhlou</a>, <a href="https://publications.waset.org/abstracts/search?q=Ajit%20Narayanan"> Ajit Narayanan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigates the task of identifying musical instruments in polyphonic compositions using Convolutional Neural Networks (CNNs) from spectrogram inputs, focusing on binary classification. The model showed promising results, with an accuracy of 97% on solo instrument recognition. When applied to polyphonic combinations of 1 to 10 instruments, the overall accuracy was 64%, reflecting the increasing challenge with larger ensembles. These findings contribute to the field of Music Information Retrieval (MIR) by highlighting the potential and limitations of current approaches in handling complex musical arrangements. Future work aims to include a broader range of musical sounds, including electronic and synthetic sounds, to improve the model's robustness and applicability in real-time MIR systems. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=binary%20classifier" title="binary classifier">binary classifier</a>, <a href="https://publications.waset.org/abstracts/search?q=CNN" title=" CNN"> CNN</a>, <a href="https://publications.waset.org/abstracts/search?q=spectrogram" title=" spectrogram"> spectrogram</a>, <a href="https://publications.waset.org/abstracts/search?q=instrument" title=" instrument"> instrument</a> </p> <a href="https://publications.waset.org/abstracts/185822/musical-instrument-recognition-in-polyphonic-audio-through-convolutional-neural-networks-and-spectrograms" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185822.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">79</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">5117</span> Digital Musical Organology: The Audio Games: The Question of “A-Musicological” Interfaces</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Herv%C3%A9%20Z%C3%A9nouda">Hervé Zénouda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article seeks to shed light on an emerging creative field: "Audio games," at the crossroads between video games and computer music. Indeed, many applications, which propose entertaining audio-visual experiences with the objective of musical creation, are available today for different supports (game consoles, computers, cell phones). The originality of this field is the use of the gameplay of video games applied to music composition. Thus, composing music using interfaces but also cognitive logics that we qualify as "a-musicological" seem to us particularly interesting from the perspective of musical digital organology. This field raises questions about the representation of sound and musical structures and develops new instrumental gestures and strategies of musical composition. We will try in this article to define the characteristics of this field by highlighting some historical milestones (abstract cinema, game theory in music, actions, and graphic scores) as well as the novelties brought by digital technologies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audio-games" title="audio-games">audio-games</a>, <a href="https://publications.waset.org/abstracts/search?q=video%20games" title=" video games"> video games</a>, <a href="https://publications.waset.org/abstracts/search?q=computer%20generated%20music" title=" computer generated music"> computer generated music</a>, <a href="https://publications.waset.org/abstracts/search?q=gameplay" title=" gameplay"> gameplay</a>, <a href="https://publications.waset.org/abstracts/search?q=interactivity" title=" interactivity"> interactivity</a>, <a href="https://publications.waset.org/abstracts/search?q=synesthesia" title=" synesthesia"> synesthesia</a>, <a href="https://publications.waset.org/abstracts/search?q=sound%20interfaces" title=" sound interfaces"> sound interfaces</a>, <a href="https://publications.waset.org/abstracts/search?q=relationships%20image%2Fsound" title=" relationships image/sound"> relationships image/sound</a>, <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20music" title=" audiovisual music"> audiovisual music</a> </p> <a href="https://publications.waset.org/abstracts/152518/digital-musical-organology-the-audio-games-the-question-of-a-musicological-interfaces" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152518.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">112</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5116</span> Automatic Music Score Recognition System Using Digital Image Processing</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yuan-Hsiang%20Chang">Yuan-Hsiang Chang</a>, <a href="https://publications.waset.org/abstracts/search?q=Zhong-Xian%20Peng"> Zhong-Xian Peng</a>, <a href="https://publications.waset.org/abstracts/search?q=Li-Der%20Jeng"> Li-Der Jeng</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music has always been an integral part of human’s daily lives. But, for the most people, reading musical score and turning it into melody is not easy. This study aims to develop an <em>Automatic music score recognition system using digital image processing</em>, which can be used to read and analyze musical score images automatically. The technical approaches included: (1) staff region segmentation; (2) image preprocessing; (3) note recognition; and (4) accidental and rest recognition. Digital image processing techniques (e.g., horizontal /vertical projections, connected component labeling, morphological processing, template matching, etc.) were applied according to musical notes, accidents, and rests in staff notations. Preliminary results showed that our system could achieve detection and recognition rates of 96.3% and 91.7%, respectively. In conclusion, we presented an effective automated musical score recognition system that could be integrated in a system with a media player to play music/songs given input images of musical score. Ultimately, this system could also be incorporated in applications for mobile devices as a learning tool, such that a music player could learn to play music/songs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=connected%20component%20labeling" title="connected component labeling">connected component labeling</a>, <a href="https://publications.waset.org/abstracts/search?q=image%20processing" title=" image processing"> image processing</a>, <a href="https://publications.waset.org/abstracts/search?q=morphological%20processing" title=" morphological processing"> morphological processing</a>, <a href="https://publications.waset.org/abstracts/search?q=optical%20musical%20recognition" title=" optical musical recognition"> optical musical recognition</a> </p> <a href="https://publications.waset.org/abstracts/13588/automatic-music-score-recognition-system-using-digital-image-processing" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/13588.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">419</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5115</span> Variations and Fugue on an Ancient Taiwanese Music: The Art of Combining Taiwanese Traditional Music and Western Composition in Kuo Chih-Yuan's Piano Repertoire</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sheng-Wei%20Hsu">Sheng-Wei Hsu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Taiwanese composer Kuo Chih-Yuan (1921-2013) studied composition at Tokyo University of the Arts and was influenced by the musical nationalism prevailing in Japan at the time. Determined to create world-class contemporary works to represent Taiwan, he created music with elements of traditional Taiwanese music in ways that had not been done before. The aims of this study were to examine the traditional elements used in Kuo Chih-Yuan’s Variations and Fugue on an Ancient Taiwanese Music (1972), and how an understanding of these elements might guide pianists to interpret a more proper performance of his work was also presented in this study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Taiwanese%20traditional%20music" title="Taiwanese traditional music">Taiwanese traditional music</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20performance%20research" title=" piano performance research"> piano performance research</a>, <a href="https://publications.waset.org/abstracts/search?q=Kuo%20Chih-Yuan" title=" Kuo Chih-Yuan"> Kuo Chih-Yuan</a>, <a href="https://publications.waset.org/abstracts/search?q=fugue" title=" fugue"> fugue</a>, <a href="https://publications.waset.org/abstracts/search?q=variations" title=" variations"> variations</a> </p> <a href="https://publications.waset.org/abstracts/22461/variations-and-fugue-on-an-ancient-taiwanese-music-the-art-of-combining-taiwanese-traditional-music-and-western-composition-in-kuo-chih-yuans-piano-repertoire" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22461.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">502</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">5114</span> The Role of Tempo in the Perception of Musical Grouping</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Marina%20B.%20Cottrell">Marina B. Cottrell</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Tempo plays a significant role in the perception of metrical groupings, with faster tempi tending to increase the number of beats in a given metrical unit. Previous research has shown a correlation between the perception of metric grouping and native language, but little is currently known about other possible musical factors that contribute to metric grouping tendencies. This study aims to find the tempo boundaries at which the perceptual groupings of a melodic pattern changes and to correlate these regions with self-reported musical experience. Participants were presented with looping melodies (divided between major and minor keys). Using a slider bar that controlled the tempo, subjects were asked to locate the point at which they heard the metric grouping doubled or halved. This region was shown to primarily be affected by the mode and time signature of the stimulus. The results also suggest a correlation between the level of musical training and the region of perceived grouping change. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=meter" title="meter">meter</a>, <a href="https://publications.waset.org/abstracts/search?q=metric%20grouping" title=" metric grouping"> metric grouping</a>, <a href="https://publications.waset.org/abstracts/search?q=mode" title=" mode"> mode</a>, <a href="https://publications.waset.org/abstracts/search?q=tempo" title=" tempo"> tempo</a> </p> <a href="https://publications.waset.org/abstracts/103293/the-role-of-tempo-in-the-perception-of-musical-grouping" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/103293.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">141</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5113</span> The Comparative Electroencephalogram Study: Children with Autistic Spectrum Disorder and Healthy Children Evaluate Classical Music in Different Ways</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Galina%20Portnova">Galina Portnova</a>, <a href="https://publications.waset.org/abstracts/search?q=Kseniya%20Gladun"> Kseniya Gladun</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In our EEG experiment participated 27 children with ASD with the average age of 6.13 years and the average score for CARS 32.41 and 25 healthy children (of 6.35 years). Six types of musical stimulation were presented, included Gluck, Javier-Naida, Kenny G, Chopin and other classic musical compositions. Children with autism showed orientation reaction to the music and give behavioral responses to different types of music, some of them might assess stimulation by scales. The participants were instructed to remain calm. Brain electrical activity was recorded using a 19-channel EEG recording device, 'Encephalan' (Russia, Taganrog). EEG epochs lasting 150 s were analyzed using EEGLab plugin for MatLab (Mathwork Inc.). For EEG analysis we used Fast Fourier Transform (FFT), analyzed Peak alpha frequency (PAF), correlation dimension D2 and Stability of rhythms. To express the dynamics of desynchronizing of different rhythms we've calculated the envelope of the EEG signal, using the whole frequency range and a set of small narrowband filters using Hilbert transformation. Our data showed that healthy children showed similar EEG spectral changes during musical stimulation as well as described the feelings induced by musical fragments. The exception was the ‘Chopin. Prelude’ fragment (no.6). This musical fragment induced different subjective feeling, behavioral reactions and EEG spectral changes in children with ASD and healthy children. The correlation dimension D2 was significantly lower in autists compared to healthy children during musical stimulation. Hilbert envelope frequency was reduced in all group of subjects during musical compositions 1,3,5,6 compositions compared to the background. During musical fragments 2 and 4 (terrible) lower Hilbert envelope frequency was observed only in children with ASD and correlated with the severity of the disease. Alfa peak frequency was lower compared to the background during this musical composition in healthy children and conversely higher in children with ASD. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=electroencephalogram%20%20%28EEG%29" title="electroencephalogram (EEG)">electroencephalogram (EEG)</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20perception" title=" emotional perception"> emotional perception</a>, <a href="https://publications.waset.org/abstracts/search?q=ASD" title=" ASD"> ASD</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20perception" title=" musical perception"> musical perception</a>, <a href="https://publications.waset.org/abstracts/search?q=childhood%20Autism%20rating%20scale%20%20%28CARS%29" title=" childhood Autism rating scale (CARS)"> childhood Autism rating scale (CARS)</a> </p> <a href="https://publications.waset.org/abstracts/62155/the-comparative-electroencephalogram-study-children-with-autistic-spectrum-disorder-and-healthy-children-evaluate-classical-music-in-different-ways" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62155.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">284</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5112</span> If You Can't Teach Yourself, No One Can</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Timna%20Mayer">Timna Mayer</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores the vast potential of self-directed learning in violin pedagogy. Based in practice and drawing on concepts from neuropsychology, the author, a violinist and teacher, outlines five learning principles. Self-directed learning is defined as an ongoing process based on problem detection, definition, and resolution. The traditional roles of teacher and student are reimagined within this context. A step-by-step guide to applied self-directed learning suggests a model for both teachers and students that realizes student independence in the classroom, leading to higher-level understanding and more robust performance. While the value of self-directed learning is well-known in general pedagogy, this paper is novel in applying the approach to the study of musical performance, a field which is currently dominated by habit and folklore, rather than informed by science. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=neuropsychology%20and%20musical%20performance" title="neuropsychology and musical performance">neuropsychology and musical performance</a>, <a href="https://publications.waset.org/abstracts/search?q=self-directed%20learning" title=" self-directed learning"> self-directed learning</a>, <a href="https://publications.waset.org/abstracts/search?q=strategic%20problem%20solving" title=" strategic problem solving"> strategic problem solving</a>, <a href="https://publications.waset.org/abstracts/search?q=violin%20pedagogy" title=" violin pedagogy"> violin pedagogy</a> </p> <a href="https://publications.waset.org/abstracts/124802/if-you-cant-teach-yourself-no-one-can" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/124802.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">149</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=traditional%20musical&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=traditional%20musical&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=traditional%20musical&page=4">4</a></li> <li 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