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musical instruments</title> <meta name="description" content="Search results for: traditional musical instruments"> <meta name="keywords" content="traditional musical instruments"> <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> 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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 instruments"> <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> 6104</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: traditional musical instruments</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6104</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">6103</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">6102</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">6101</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">6100</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">6099</span> Passive Attenuation with Multiple Resonator Rings for Musical Instruments Equalization</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lorenzo%20Bonoldi">Lorenzo Bonoldi</a>, <a href="https://publications.waset.org/abstracts/search?q=Gianluca%20Memoli"> Gianluca Memoli</a>, <a href="https://publications.waset.org/abstracts/search?q=Abdelhalim%20Azbaid%20El%20Ouahabi"> Abdelhalim Azbaid El Ouahabi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, a series of ring-shaped attenuators utilizing Helmholtz and quarter wavelength resonators in variable, fixed, and combined configurations have been manufactured using a 3D printer. We illustrate possible uses by incorporating such devices into musical instruments (e.g. in acoustic guitar sound holes) and audio speakers with a view to controlling such devices tonal emissions without electronic equalization systems. Numerical investigations into the transmission loss values of these ring-shaped attenuators using finite element method simulations (COMSOL Multiphysics) have been presented in the frequency range of 100– 1000 Hz. We compare such results for each attenuator model with experimental measurements using different driving sources such as white noise, a maximum-length sequence (MLS), square and sine sweep pulses, and point scans in the frequency domain. Finally, we present a preliminary discussion on the comparison of numerical and experimental results. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=equaliser" title="equaliser">equaliser</a>, <a href="https://publications.waset.org/abstracts/search?q=metamaterials" title=" metamaterials"> metamaterials</a>, <a href="https://publications.waset.org/abstracts/search?q=musical" title=" musical"> musical</a>, <a href="https://publications.waset.org/abstracts/search?q=instruments" title=" instruments"> instruments</a> </p> <a href="https://publications.waset.org/abstracts/148445/passive-attenuation-with-multiple-resonator-rings-for-musical-instruments-equalization" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/148445.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">174</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6098</span> Mapping the Sonic Spectrum of Traditional Music and Instruments Used in Malaysian Kavadi Rituals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ainolnaim%20Azizol">Ainolnaim Azizol</a>, <a href="https://publications.waset.org/abstracts/search?q=Valerie%20Ross"> Valerie Ross</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music is as old as mankind and rituals using music such as Kavadi have been associated with social, cultural, and spiritual practices in many traditional and modern societies. Recent literature has provided scientific evidence that music affects psychological and physical changes through stimulation of brainwave. Despite such advances, the scientific study of the sonic qualities peculiar to traditional instruments and how it impacts on ritualistic activities is still lacking. This study addresses one such phenomenon. Devotees in Kavadi rituals are known to be in a state of trance state and do not experience pain nor suffer injury despite the hundreds of needles pierced through their skins. Although scientists have sought to understand how this is possible, lesser is known about the music that is used to prepare devotees to enter into the trance state. This study fills this gap of knowledge by providing scientific evidence through the identification and mapping of the sonic spectrum or sound fingerprint of the instruments and the repertoire used in these ritualistic forms in their ethnographic environment and in audio-controlled situations. The objectives are to identify and categorize the different types of traditional music used in Kavadi rituals; to record, transcribe and digitally score the musical repertoire used in the oral tradition of Kavadi rituals; to map the sonic spectrum of ritual music using spectromography and advanced music analytical software a mixed methodology will be used. This comprises ethnographic field studies using interviews, participant observation, audio-video recordings and audio-methodology using spectromography and advanced audio-technology for sonic mapping and the transcription of audio recordings into digital scores. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sonic" title="sonic">sonic</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional" title=" traditional"> traditional</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=Kavadi" title=" Kavadi"> Kavadi</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a> </p> <a href="https://publications.waset.org/abstracts/54012/mapping-the-sonic-spectrum-of-traditional-music-and-instruments-used-in-malaysian-kavadi-rituals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/54012.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">242</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">6097</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">6096</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">6095</span> A Novel Method for Silence Removal in Sounds Produced by Percussive Instruments</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=B.%20Kishore%20Kumar">B. Kishore Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Rakesh%20Pogula"> Rakesh Pogula</a>, <a href="https://publications.waset.org/abstracts/search?q=T.%20Kishore%20Kumar"> T. Kishore Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The steepness of an audio signal which is produced by the musical instruments, specifically percussive instruments is the perception of how high tone or low tone which can be considered as a frequency closely related to the fundamental frequency. This paper presents a novel method for silence removal and segmentation of music signals produced by the percussive instruments and the performance of proposed method is studied with the help of MATLAB simulations. This method is based on two simple features, namely the signal energy and the spectral centroid. As long as the feature sequences are extracted, a simple thresholding criterion is applied in order to remove the silence areas in the sound signal. The simulations were carried on various instruments like drum, flute and guitar and results of the proposed method were analyzed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=percussive%20instruments" title="percussive instruments">percussive instruments</a>, <a href="https://publications.waset.org/abstracts/search?q=spectral%20energy" title=" spectral energy"> spectral energy</a>, <a href="https://publications.waset.org/abstracts/search?q=spectral%20centroid" title=" spectral centroid"> spectral centroid</a>, <a href="https://publications.waset.org/abstracts/search?q=silence%20removal" title=" silence removal"> silence removal</a> </p> <a href="https://publications.waset.org/abstracts/14246/a-novel-method-for-silence-removal-in-sounds-produced-by-percussive-instruments" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14246.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">411</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">6094</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">6093</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">6092</span> Trends in Conservation and Inheritance of Musical Culture of Ethnic Groups: A Case Study of the Akha Music in Chiang Rai Province, Thailand</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nutthan%20Inkhong">Nutthan Inkhong</a>, <a href="https://publications.waset.org/abstracts/search?q=Sutthiphong%20Ruangchante"> Sutthiphong Ruangchante</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Chiang Rai province is located at the northern border of Thailand. Most of the geography there is the northern continental highlands, and the population has many types of inhabitants, including Thai people, immigrants and ethnic groups such as Akha, Lahu, Lisu, Yao, etc. Most of these ethnic groups migrated from neighbouring countries such as Myanmar, Laos, China, etc. and settled in the mountains. Each ethnic group has their unique traditions, culture, and ways of life, including the musical culture that the ancestors of each ethnic group brought with them. In the present, the Akha have the largest population in the region and still live together in numerous villages in many districts. Thus, Akha musical culture still appears in the community traditions and cultural events of Chiang Rai province regularly. This article presents the situations of Akha musical culture in the present and the predictions for the future. The study method involves the analysis of music information and the related social contexts, which were collected from the fieldwork of ethnomusicological methodology by in-depth interviews, observations, audio and visual recordings, and related documents. The results found that the important persons who are related with Akha musical culture include (1) a musical instrument maker (lives in Mae Chan district) who produces various Akha musical instruments, including gourd mouth organs, Akha drums, two-way flutes, three-hole flutes, Jew’s harps (the sound of teenage love), buffalo horns (the sound symbol of hunting) and bird call instruments (the imitation of bird sounds), (2) a folk philosopher (lives in Mae Pha Luang district) who can teach music to the new generation of Akha people as well as lecture and demonstrate music to academics and tourists, and (3) a community leader (lives in Mae Chan district) who conserves Akha performances, singing and music through various activities of the students in an informal school. Because of the changes to the social contexts and ways of life of the Akha people, such as the educational system, religion, social media, etc., including the popularity of both Thai and international popular music among the new generation of Akha people, changes to and the fading away of Akha musical culture in the future may likely occur. Therefore, the conservation and inheritance of Akha music is an issue that should be resolved quickly. This primary study leads to the next step of the ethnomusicological work and plays a part in preventing or reducing the problems impacting Akha musical culture survival by the recording of Akha music in all of its dimensions, such as producing musical instruments, playing musical instruments, analysis of tuning systems, recording Akha music as musical notation using symbols, researching related social contexts, etc. and the transcription of this information to create lessons that can be returned to the Akha community. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Akha%20music" title="Akha music">Akha music</a>, <a href="https://publications.waset.org/abstracts/search?q=Chiang%20Rai" title=" Chiang Rai"> Chiang Rai</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnic%20music%20in%20Thailand" title=" ethnic music in Thailand"> ethnic music in Thailand</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnomusicology" title=" ethnomusicology"> ethnomusicology</a> </p> <a href="https://publications.waset.org/abstracts/109441/trends-in-conservation-and-inheritance-of-musical-culture-of-ethnic-groups-a-case-study-of-the-akha-music-in-chiang-rai-province-thailand" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/109441.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">161</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">6091</span> Evaluation of Musical Conductor Exposure to Noise</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20Saleh%20Summan">Ahmed Saleh Summan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article presents the results of a technical report on the evaluation of occupational noise exposures among a musical conductor in a musical rehearsal hall (party–center). A calibrated noise dosimeter was used to measure the personal exposure of a music teacher/conductor for 8 hours in two days of rehearsal involving 90 players. Results showed that noise exposure levels were much higher than the permissible levels regulated 85dBA/8hr by NIOSH. In fact, the first day of measurements recorded the highest exposure levels (91 dBA). A number of factors contributed to these results, such as players number, types of instruments used, and activities. Noise control measures were recommended to solve this situation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=noise%20exposure" title="noise exposure">noise exposure</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20conductors" title=" music conductors"> music conductors</a>, <a href="https://publications.waset.org/abstracts/search?q=occupational%20noise" title=" occupational noise"> occupational noise</a>, <a href="https://publications.waset.org/abstracts/search?q=noise%20in%20rooms" title=" noise in rooms"> noise in rooms</a> </p> <a href="https://publications.waset.org/abstracts/146607/evaluation-of-musical-conductor-exposure-to-noise" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146607.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">6090</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">6089</span> Physical Modeling of Woodwind Ancient Greek Musical Instruments: The Case of Plagiaulos</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dimitra%20Marini">Dimitra Marini</a>, <a href="https://publications.waset.org/abstracts/search?q=Konstantinos%20Bakogiannis"> Konstantinos Bakogiannis</a>, <a href="https://publications.waset.org/abstracts/search?q=Spyros%20Polychronopoulos"> Spyros Polychronopoulos</a>, <a href="https://publications.waset.org/abstracts/search?q=Georgios%20Kouroupetroglou"> Georgios Kouroupetroglou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Archaemusicology cannot entirely depend on the study of the excavated ancient musical instruments as most of the time their condition is not ideal (i.e., missing/eroded parts) and moreover, because of the concern damaging the originals during the experiments. Researchers, in order to overcome the above obstacles, build replicas. This technique is still the most popular one, although it is rather expensive and time-consuming. Throughout the last decades, the development of physical modeling techniques has provided tools that enable the study of musical instruments through their digitally simulated models. This is not only a more cost and time-efficient technique but also provides additional flexibility as the user can easily modify parameters such as their geometrical features and materials. This paper thoroughly describes the steps to create a physical model of a woodwind ancient Greek instrument, Plagiaulos. This instrument could be considered as the ancestor of the modern flute due to the common geometry and air-jet excitation mechanism. Plagiaulos is comprised of a single resonator with an open end and a number of tone holes. The combination of closed and open tone holes produces the pitch variations. In this work, the effects of all the instrument’s components are described by means of physics and then simulated based on digital waveguides. The synthesized sound of the proposed model complies with the theory, highlighting its validity. Further, the synthesized sound of the model simulating the Plagiaulos of Koile (2nd century BCE) was compared with its replica build in our laboratory by following the scientific methodologies of archeomusicology. The aforementioned results verify that robust dynamic digital tools can be introduced in the field of computational, experimental archaemusicology. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=archaeomusicology" title="archaeomusicology">archaeomusicology</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20waveguides" title=" digital waveguides"> digital waveguides</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20acoustics" title=" musical acoustics"> musical acoustics</a>, <a href="https://publications.waset.org/abstracts/search?q=physical%20modeling" title=" physical modeling"> physical modeling</a> </p> <a href="https://publications.waset.org/abstracts/132330/physical-modeling-of-woodwind-ancient-greek-musical-instruments-the-case-of-plagiaulos" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132330.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">113</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6088</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">6087</span> Rhythmic Sound: Presence and Significance: A Study of the Yue Drum Used in the Han Chinese Shigong Ritual in Guangxi, China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Li-Jun%20Zheng">Li-Jun Zheng</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The use of drums as an accompanying instrument is a common phenomenon in traditional Chinese folk rituals and musical culture. Especially, some folk rituals construct ritual-related sounds and give them ritual-specific symbolic and meaningful systems through the combination and use of multiple percussion instruments. The Yue drum(岳鼓), an asymmetrically shaped thin waist drum, is currently used in Han Chinese Shigong（师公）rituals in Guangxi, China, and is an important ritual instrument in Shigong rituals. This paper examines the use of the Yue drum and other percussion instruments in Han Chinese Shigong rituals in Guangxi, China, and shows the current status of combining instrumental accompaniment forms with human voices in Shigong rituals. Through further analysis of the musical and dance forms of Han Chinese Shigong rituals, this paper shows how Han Chinese Shigong ritual performers construct the ritual field through "sound-human-dance" and further explains the relationship between the existing and fictitious performance fields in the rituals. In addition, this paper demonstrates the relationship between Han Chinese Shigong rituals and the religious beliefs they involve, such as Taoism and Buddhism. And it further explores how performers in Han Chinese Shigong rituals use Yue drums for the dual purpose of "entertaining the gods" and "entertaining the people". <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sound%20research" title="sound research">sound research</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20Han%20Chinese%20Shigong%20ritual" title=" the Han Chinese Shigong ritual"> the Han Chinese Shigong ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20thin%20waist%20drum" title=" the thin waist drum"> the thin waist drum</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20beliefs" title=" folk beliefs"> folk beliefs</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual%20music" title=" ritual music"> ritual music</a> </p> <a href="https://publications.waset.org/abstracts/178218/rhythmic-sound-presence-and-significance-a-study-of-the-yue-drum-used-in-the-han-chinese-shigong-ritual-in-guangxi-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/178218.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">65</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">6086</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">6085</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">6084</span> Multimodal Convolutional Neural Network for Musical Instrument Recognition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yagya%20Raj%20Pandeya">Yagya Raj Pandeya</a>, <a href="https://publications.waset.org/abstracts/search?q=Joonwhoan%20Lee"> Joonwhoan Lee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The dynamic behavior of music and video makes it difficult to evaluate musical instrument playing in a video by computer system. Any television or film video clip with music information are rich sources for analyzing musical instruments using modern machine learning technologies. In this research, we integrate the audio and video information sources using convolutional neural network (CNN) and pass network learned features through recurrent neural network (RNN) to preserve the dynamic behaviors of audio and video. We use different pre-trained CNN for music and video feature extraction and then fine tune each model. The music network use 2D convolutional network and video network use 3D convolution (C3D). Finally, we concatenate each music and video feature by preserving the time varying features. The long short term memory (LSTM) network is used for long-term dynamic feature characterization and then use late fusion with generalized mean. The proposed network performs better performance to recognize the musical instrument using audio-video multimodal neural network. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multimodal" title="multimodal">multimodal</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20convolution" title=" 3D convolution"> 3D convolution</a>, <a href="https://publications.waset.org/abstracts/search?q=music-video%20feature%20extraction" title=" music-video feature extraction"> music-video feature extraction</a>, <a href="https://publications.waset.org/abstracts/search?q=generalized%20mean" title=" generalized mean"> generalized mean</a> </p> <a href="https://publications.waset.org/abstracts/104041/multimodal-convolutional-neural-network-for-musical-instrument-recognition" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/104041.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">215</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">6083</span> Using New Machine Algorithms to Classify Iranian Musical Instruments According to Temporal, Spectral and Coefficient Features</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ronak%20Khosravi">Ronak Khosravi</a>, <a href="https://publications.waset.org/abstracts/search?q=Mahmood%20Abbasi%20Layegh"> Mahmood Abbasi Layegh</a>, <a href="https://publications.waset.org/abstracts/search?q=Siamak%20Haghipour"> Siamak Haghipour</a>, <a href="https://publications.waset.org/abstracts/search?q=Avin%20Esmaili"> Avin Esmaili</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, a study on classification of musical woodwind instruments using a small set of features selected from a broad range of extracted ones by the sequential forward selection method was carried out. Firstly, we extract 42 features for each record in the music database of 402 sound files belonging to five different groups of Flutes (end blown and internal duct), Single –reed, Double –reed (exposed and capped), Triple reed and Quadruple reed. Then, the sequential forward selection method is adopted to choose the best feature set in order to achieve very high classification accuracy. Two different classification techniques of support vector machines and relevance vector machines have been tested out and an accuracy of up to 96% can be achieved by using 21 time, frequency and coefficient features and relevance vector machine with the Gaussian kernel function. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=coefficient%20features" title="coefficient features">coefficient features</a>, <a href="https://publications.waset.org/abstracts/search?q=relevance%20vector%20machines" title=" relevance vector machines"> relevance vector machines</a>, <a href="https://publications.waset.org/abstracts/search?q=spectral%20features" title=" spectral features"> spectral features</a>, <a href="https://publications.waset.org/abstracts/search?q=support%20vector%20machines" title=" support vector machines"> support vector machines</a>, <a href="https://publications.waset.org/abstracts/search?q=temporal%20features" title=" temporal features"> temporal features</a> </p> <a href="https://publications.waset.org/abstracts/54321/using-new-machine-algorithms-to-classify-iranian-musical-instruments-according-to-temporal-spectral-and-coefficient-features" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/54321.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">321</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">6082</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">6081</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">6080</span> The Romero-System Clarinet: A Milestone in the 19th Century Clarinet Manufacture</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pedro%20Rubio">Pedro Rubio</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Antonio Romero y Andía, was one of the most active and interesting figures in 19th century Spanish music. He was not only an exceptional clarinetist, he was also a publisher, a brilliant oboist, a music critic, and he revitalized Madrid’s musical scene by promoting orchestras and a national opera. In 1849, Romero was appointed Professor of Clarinet at the Conservatory of Madrid. Shortly after, Romero introduced to Spain the Boehm-System clarinet recently appeared in France. However, when initial interest in that system waned, he conceived his own system in 1853. The clarinet was manufactured in Paris by Lefêvre, who registered its first patent in 1862. In 1867 a second version was patented, and a year earlier, in 1866, the Romero clarinet was adopted as an official instrument for teaching the clarinet at the Conservatory of Madrid. The Romero-System clarinet mechanism has incorporated numerous additional devices and several extra keys, its skillful combination in a single instrument represents not only one of the pinnacles in the manufacture of musical instruments of the 19th century, but also an authentic synthesis of knowledge and practice in an era in which woodwind instruments were shaped as we know them today. Through the description and analysis of the data related to the aforementioned historical period, this lecture will try to show a crucial time in the history of all woodwind instruments, a period of technological effervescence in which the Romero-System clarinet emerged. The different stages of conception of the clarinet will be described, as well as its manufacturing and marketing process. Romero played with his clarinet system over twenty-five years. The research has identified the repertoire associated with this instrument whose conclusions will be presented in its case in the Congress. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Antonio%20Romero" title="Antonio Romero">Antonio Romero</a>, <a href="https://publications.waset.org/abstracts/search?q=clarinet" title=" clarinet"> clarinet</a>, <a href="https://publications.waset.org/abstracts/search?q=keywork" title=" keywork"> keywork</a>, <a href="https://publications.waset.org/abstracts/search?q=19th%20century" title=" 19th century"> 19th century</a> </p> <a href="https://publications.waset.org/abstracts/158190/the-romero-system-clarinet-a-milestone-in-the-19th-century-clarinet-manufacture" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/158190.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">6079</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">6078</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">6077</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">6076</span> Preserving a Nation Oversea: Galician Folklore Music and Identity in the Americas. Analysis of Galician Migrant Music in the Latin American Context</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Santiago%20Guerra%20Fern%C3%A1ndez">Santiago Guerra Fernández</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Abstract—This study is focused on exploring the conditions for the development of Galician music in the communities of Latin America after the massive arrival of Galician immigrants in the late nineteenth and early twentieth centuries, fleeing from hunger and misery in Spain. Migration would be accentuated after 1936 with the arrival of refugees from the Spanish Civil War due to their Republican political militancy fleeing fascism. The aim of this paper is to investigate the part that miscegenation with other local musical traditions has played within Galician expat music, helping to understand the complexity of contemporary Galician identity. Through archival work, the focus is set on examining the different traditional dances (such as the ‘muiñeira’), folk instruments (bagpipes, ‘pandeireta’), and poetic forms (‘cantiga’, ‘copla’) that were exported to Argentina and Cuba. Although research about migrant Galician music has been conducted in Spanish scholarship, there is a gap in the English literature on the topic that this paper intends to fill in. The results show how these musical traditions have played an essential role in shaping the social life and customs of Galician emigrants. By virtue of its malleability and blending properties, music serves here as an indicator of social cohesion. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=folk" title="folk">folk</a>, <a href="https://publications.waset.org/abstracts/search?q=Galicia" title=" Galicia"> Galicia</a>, <a href="https://publications.waset.org/abstracts/search?q=migration" title=" migration"> migration</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a> </p> <a href="https://publications.waset.org/abstracts/161969/preserving-a-nation-oversea-galician-folklore-music-and-identity-in-the-americas-analysis-of-galician-migrant-music-in-the-latin-american-context" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161969.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">73</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">6075</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> <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%20instruments&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=traditional%20musical%20instruments&page=3">3</a></li> <li class="page-item"><a class="page-link" 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