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musician</title> <meta name="description" content="Search results for: musician"> <meta name="keywords" content="musician"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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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="musician"> <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> 19</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: musician</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">19</span> The Musician as the Athlete: Psychological Response to Injury</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shulamit%20Sternin">Shulamit Sternin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Athletes experience injuries that can have both a physical and psychological impact on the individual. In such instances, athletes are able to rely on the established field of sports psychology to facilitate holistic rehabilitation. Musicians, like athletes rely on their bodies to perform in much the same way athletes do and are also susceptible to injury. Due to the similar performative nature of succeeding as an athletes or a musician, these careers share many of the same primary psychological concerns and therefore it is reasonable that athletes and musicians may require similar rehabilitation post-injury. However, musicians face their own unique psychological challenges and understanding the needs of an injured athlete can serve as a foundation for understanding the injured musician but is not enough to fully rehabilitate an injured musician. The current research surrounding musicians and their injuries is primarily focused on physiological aspects of injury and rehabilitation; the psychological aspects have not yet received adequate attention resulting in poor musician rehabilitation post- injury. This review paper uses current models of psychological response to injury in athletes to draw parallels with the psychological response to injury in musicians. Search engines such as Medline and PsycInfo were systematically searched using specific key words, such as psychological response, injury, athlete, and musician. Studies that focused on post-injury psychology of either the musician or the athlete were included. Within the literature there is evidence to support psychological responses, unique to the musician, that are not accounted for by current models of response in athletes. The models of psychological response to injury in athletes are inadequate tools for application to the musician. Future directions for performance arts research that can fill the gaps in our understanding and modeling of musicians’ response to injury are discussed. A better understanding of the psychological impact of injuries on musicians holds significant implications for health care practitioners working with injured musicians. Understanding the unique barriers musicians face post-injury, and how support for this population must be tailored to properly suit musicians’ needs will aid in more holistic rehabilitation and a higher likelihood of musician’s returning to pre-injury performance levels. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=athlete" title="athlete">athlete</a>, <a href="https://publications.waset.org/abstracts/search?q=injury" title=" injury"> injury</a>, <a href="https://publications.waset.org/abstracts/search?q=musician" title=" musician"> musician</a>, <a href="https://publications.waset.org/abstracts/search?q=psychological%20response" title=" psychological response"> psychological response</a> </p> <a href="https://publications.waset.org/abstracts/107128/the-musician-as-the-athlete-psychological-response-to-injury" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/107128.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">205</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">18</span> New Perspectives on Musician’s Focal Dystonia Causes and Therapy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Douglas%20Shabe">Douglas Shabe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The world of the performing musician is one of high pressure that comes from the expected high standards they have to live up to and that they expect from themselves. The pressure that musicians put themselves under can manifest itself in physical problems such as focal dystonia. Knowledge of the contributing factors and potential rehabilitation strategies cannot only give players hope for recovery but also the information to prevent it from happening in the first place. This dissertation presents a multiple case study of two performing brass musicians who developed focal dystonia of the embouchure, also known as embouchure dystonia, combined with an autoethnography of the author’s experience of battling embouchure dystonia and our attempts at recovery. Extensive research into the current state of focal dystonia research was done to establish a base of knowledge. That knowledge was used to develop interview questions for the two participants and interpret the findings of the qualitative data collected. The research knowledge, as well as the qualitative data from the case studies, was also used to interpret the author’s experience. The author determined that behavioral, environmental, and psychological factors were of prime importance in the subjects’ development of focal dystonia and that modifications of those factors are essential for the best chance at recovery. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=focal%20dystonia" title="focal dystonia">focal dystonia</a>, <a href="https://publications.waset.org/abstracts/search?q=embouchure%20dystonia" title=" embouchure dystonia"> embouchure dystonia</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20teaching%20and%20learning" title=" music teaching and learning"> music teaching and learning</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a> </p> <a href="https://publications.waset.org/abstracts/165014/new-perspectives-on-musicians-focal-dystonia-causes-and-therapy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/165014.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">85</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">17</span> The Competing Roles of Educator, Music Teacher, and Musician in Professional Identity Development: A Longitudinal Autoethnography</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Thomas%20LaRocca">Thomas LaRocca</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study explores the development of a public-school music teacher’s professional identity within three domains: as an educator in the profession at large, as a music teacher in a school, and as a professional musician. An autoethnographic method is employed by calling upon undergraduate student teaching reflections, graduate writing assignments and presentations, cover letters for employment, professional correspondence, and reflective memos. These artifacts provide a reference for phenomenological insights into the values, hopes, and criticisms within each domain over time –all of which provide a window into the overall ontological perspective of one’s professional life at different moments in their career. While the topic of music teacher identity has been examined using autoethnographical methods before, by accessing materials over the course of ten years, the study is able to investigate the ‘how’ of identity development in a temporal context; from undergraduate student to established professional. Additionally, while the field offers a considerable amount of work surrounding the child and adolescent identity development, there are unmined opportunities to examine identity development in the adult years, especially surrounding adult professional life. Employing a postpositivist approach with social constructionism as a backdrop, this study examines adult identity formation and the contradictions, resonances, and priorities within each domain, between each domain, and perceived expectations of the professional community. What is revealed is a journey of self-improvement motivated by failure and success, marked by negotiation and sacrifice; as each domain competes for mental and temporal resources, identity is viewed as not just who one is, but also as what one leaves behind. These insights offer a window into the ontology of identity of a music educator and may provide considerations for differentiating professional development based on what stage educators are at in their careers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=identity" title="identity">identity</a>, <a href="https://publications.waset.org/abstracts/search?q=longitudinal%20autoethnography" title=" longitudinal autoethnography"> longitudinal autoethnography</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20teacher%20education" title=" music teacher education"> music teacher education</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20teacher%20ontology" title=" music teacher ontology"> music teacher ontology</a> </p> <a href="https://publications.waset.org/abstracts/131617/the-competing-roles-of-educator-music-teacher-and-musician-in-professional-identity-development-a-longitudinal-autoethnography" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131617.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">139</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">16</span> Portrait of Musical Creativity or Indolence: A Critique of Unoka Character in Achebe’s Things Fall Apart</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ebim%20Matthew%20Abua">Ebim Matthew Abua</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Chinua Achebe’s Things Fall Apart (henceforth, TFA), the character Unoka is portrayed as a weakling and indolent person even when he was a creative artist, a talented musician, and a mathematician. His lack of achievement becomes the barometer for measuring his success. Right from time, music is considered to be of great significance because of its capacity to recreate and retell social events. To this end, music is both a social act and a creative art. As a social act, music is a discursive medium that exploits the dynamics of art in its evaluation of society. Music is so much a part of human existence that its presence in literature can help readers relate to fictional situations and characters. In this paper, the character Unoka is examined against the backdrop of his musical proclivities and his contributions to the overall development of TFA. Unfortunately, Achebe’s Things Fall Apart, a product of artistic creativity, portrays the personality of Unoka as lazy and uninspiring because he (Unoka) is a musician who is busy playing his flute and hardly doing anything productive. This paper is significant because it examines the literary and or linguistic depiction of Unoka and the aftermath of that depiction on the entire novel and, by extension, the larger society. Methodologically, this paper adopted the qualitative approach from the ethnography of communication (EOC), which is the analysis of communication within the wider context of the social and cultural practices and beliefs of the members of a particular culture or speech community. The aim of this qualitative research method includes the ability to discern which communication acts and/or codes are important to different groups, what types of meanings groups apply to different communication events, and how group members learn these codes to provide insight into particular communities. The study reveals that the people of Umuofia were mono-directional in their economy, and there was no room for diversification. One was either a farmer, or such a person was relegated to the background. Unoka, taking up a new challenge of diversifying the economy from the perspective of entertainment, was viewed as a misnomer. This study opens the door to other areas of studying Achebe’s epic novel apart from the critical works of literary artists that have been dished out over time. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=literature" title="literature">literature</a>, <a href="https://publications.waset.org/abstracts/search?q=popular%20culture" title=" popular culture"> popular culture</a>, <a href="https://publications.waset.org/abstracts/search?q=unoka" title=" unoka"> unoka</a>, <a href="https://publications.waset.org/abstracts/search?q=things%20fall%20apart" title=" things fall apart"> things fall apart</a> </p> <a href="https://publications.waset.org/abstracts/179410/portrait-of-musical-creativity-or-indolence-a-critique-of-unoka-character-in-achebes-things-fall-apart" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/179410.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">59</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15</span> Live Music Promotion in Burundi Country</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aster%20Anderson%20Rugamba">Aster Anderson Rugamba</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Context: Live music in Burundi is currently facing neglect and a decline in popularity, resulting in artists struggling to generate income from this field. Additionally, live music from Burundi has not been able to gain traction in the international market. It is essential to establish various structures and organizations to promote cultural events and support artistic endeavors in music and performing arts. Research Aim: The aim of this research is to seek new knowledge and understanding in the field of live music and its content in Burundi. Furthermore, it aims to connect with other professionals in the industry, make new discoveries, and explore potential collaborations and investments. Methodology: The research will utilize both quantitative and qualitative research methodologies. The quantitative approach will involve a sample size of 57 musician artists in Burundi. It will employ closed-ended questions and gather quantitative data to ensure a large sample size and high external validity. The qualitative approach will provide deeper insights and understanding through open-ended questions and in-depth interviews with selected participants. Findings: The research expects to find new theories, methodologies, empirical findings, and applications of existing knowledge that can contribute to the development of live music in Burundi. By exploring the challenges faced by artists and identifying potential solutions, the study aims to establish live music as a catalyst for development and generate a positive impact on both the Burundian and international community. Theoretical Importance: Theoretical contributions of this research will expand the current understanding of the live music industry in Burundi. It will propose new theories and models to address the issues faced by artists and highlight the potential of live music as a lucrative and influential industry. By bridging the gap between theory and practice, the research aims to provide valuable insights for academics, professionals, and policymakers. Data Collection and Analysis Procedures: Data will be collected through surveys, interviews, and archival research. Surveys will be administered to the sample of 57 musician artists, while interviews will be conducted to gain in-depth insights from selected participants. The collected data will be analyzed using both quantitative and qualitative methods, including statistical analysis and thematic analysis, respectively. This mixed-method approach will ensure a comprehensive and rigorous examination of the research questions addressed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=business%20music%20in%20burundi" title="business music in burundi">business music in burundi</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20in%20burundi" title=" music in burundi"> music in burundi</a>, <a href="https://publications.waset.org/abstracts/search?q=promotion%20of%20art" title=" promotion of art"> promotion of art</a>, <a href="https://publications.waset.org/abstracts/search?q=burundi%20music%20culture" title=" burundi music culture"> burundi music culture</a> </p> <a href="https://publications.waset.org/abstracts/172590/live-music-promotion-in-burundi-country" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172590.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">61</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">14</span> Horizontal Directivity of Pipa Radiation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xin%20Wang">Xin Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Yuanzhong%20Wang"> Yuanzhong Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Pipa is one of the most important Chinese traditional plucked instruments, but its directivity has never been measured systematically. In western, directivity of loudness for western instruments is deeply researched through analysis of sound pressure level, whereas the directivity of timbre is seldom studied. In this paper, a new method for directivity of timbre was proposed, and horizontal directivity patterns of loudness and timbre of Pipa were measured. Directivity of Pipa radiation was measured in an anechoic room. The sound of Pipa played by a musician was recorded simultaneously by 32 microphones with Pipa in the center. The measuring results were examined through listening test. According to the measurement of Pipa directivity radiation, we put forward the best localization of Pipa in the Chinese traditional orchestra and the optimal recording region. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=directivity" title="directivity">directivity</a>, <a href="https://publications.waset.org/abstracts/search?q=Pipa" title=" Pipa"> Pipa</a>, <a href="https://publications.waset.org/abstracts/search?q=roughness" title=" roughness"> roughness</a>, <a href="https://publications.waset.org/abstracts/search?q=listening%20test" title=" listening test"> listening test</a> </p> <a href="https://publications.waset.org/abstracts/22583/horizontal-directivity-of-pipa-radiation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22583.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">483</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">13</span> Differences in the Level of Self-Efficacy and Intensity of Narcissism among Band and Solo Musicians</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Weronika%20Moli%C5%84ska">Weronika Molińska</a>, <a href="https://publications.waset.org/abstracts/search?q=Joanna%20Rajchert"> Joanna Rajchert</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A musical career is not only about the quality of performing or playing music. Musicians can choose from a variety of specializations and career paths. The described study focused on psychological traits which relate to a solo career (performing individually or as a leader) or performing as part of a chamber ensemble, ensemble, choir, or orchestra. The hypothesis predicted that narcissism and self-efficacy would be higher in musicians performing solo. The study involved 124 professional musicians: instrumentalists and soloists, singers (n = 59), and ensemble instrumentalists and singers (n = 65). The results confirmed the hypothesis and showed that soloists were higher on self-efficacy and narcissism. In particular, soloists were higher on leader characteristics, demand for admiration, and vanity than musicians performing in ensembles. The result of these studies is a good introduction to a broader project answering the questions of what can increase or decrease the musician's sense of self-efficacy and whether the decreased self-efficacy could induce musicians to give up their solo careers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=self-efficacy" title="self-efficacy">self-efficacy</a>, <a href="https://publications.waset.org/abstracts/search?q=musicians" title=" musicians"> musicians</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20profession" title=" musical profession"> musical profession</a>, <a href="https://publications.waset.org/abstracts/search?q=narcissism" title=" narcissism"> narcissism</a>, <a href="https://publications.waset.org/abstracts/search?q=soloists" title=" soloists"> soloists</a> </p> <a href="https://publications.waset.org/abstracts/146167/differences-in-the-level-of-self-efficacy-and-intensity-of-narcissism-among-band-and-solo-musicians" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146167.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">12</span> Tajwīd and Mawwāl Toward Khushūʿ in Islam and Tarab in Arab Music: Common Musical Elements</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Moussa%20Khalaf">Mohammad Moussa Khalaf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As a significant term in Arab music, ṭarab identifies a particular expression of feelings and emotions, especially in the vocal practice of Arab music. Ṭarab aims to take both the performer and the audience from a normal feeling state to a new state of spiritual feeling through the art of mawwāl. Because of the expertise required for mawwāl, the ability to reach ṭarab has long been considered an indication that a musician has reached a high musical level. Another significant Islamic concept related to feelings and emotions is khushūʿ. It is known that one of the ways to get Khāsheʿ (humble to God) is the artistic reading of the holy Qur’ān. The artistic recitation of the Qur’ān is tajwīd. Like mawwāl, tajwīd requires a high-level rendition to lead the listener to the special emotional state. The research will focus on the relationships between ṭarab, khushūʿ, tajwīd, and mawwāl in Islamic-Arab culture in a way that has not been addressed previously. The relationships between tajwid and mawwāl, ṭarab and khushūʿ would be identified through the examination of musical factors, socio-cultural factors, and emotional factors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arab%20music" title="Arab music">Arab music</a>, <a href="https://publications.waset.org/abstracts/search?q=%E1%B9%ACarab" title=" Ṭarab"> Ṭarab</a>, <a href="https://publications.waset.org/abstracts/search?q=Maww%C4%81l" title=" Mawwāl"> Mawwāl</a>, <a href="https://publications.waset.org/abstracts/search?q=Khush%C5%AB%CA%BF" title=" Khushūʿ"> Khushūʿ</a>, <a href="https://publications.waset.org/abstracts/search?q=Tajw%C4%ABd" title=" Tajwīd"> Tajwīd</a>, <a href="https://publications.waset.org/abstracts/search?q=Islam" title=" Islam"> Islam</a> </p> <a href="https://publications.waset.org/abstracts/173495/tajwid-and-mawwal-toward-khushu-in-islam-and-tarab-in-arab-music-common-musical-elements" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173495.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">92</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11</span> Wasif Jawharriyeh and the Identity-Forming Spaces of Late Ottoman Jerusalem </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Feyza%20Daloglu">Feyza Daloglu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper scrutinizes the Ottoman years of Wasif Jawharriyeh’s memoir, The Storyteller of Jerusalem, within the framework of citadinite, employed by the Open Jerusalem Project. Open Jerusalem Project uses the term citadinite to describe “the dynamic identity relationship city dwellers have with each other and their urban environment.” While Jerusalem and Jerusalemite identity have usually been analyzed within religious, national, or colonial frameworks, citadinite offers a fresh perspective by turning its lens to the urban identity of its citizens in the 19th and 20th centuries to overcome the shortcomings of usual frameworks. Wasif Jawharriyeh is a proud Jerusalemite and a Greek Orthodox Arab, who spent his childhood and teenage years under the Ottoman Empire. His memoir reveals a great deal of urbanity and a strong sense of Jerusalemite identity which appears to be favored over other forms of identities - Arab, Christian - in the late empire years. Through citadinite, this paper aims to discuss aspects of Jerusalemite identity and key points of urban life in the late Ottoman holy city with the guidance of a very lively and social Ottoman citizen and at that time a young musician, Wasif Jawharriyeh. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=arab%20memoir" title="arab memoir">arab memoir</a>, <a href="https://publications.waset.org/abstracts/search?q=cityscape" title=" cityscape"> cityscape</a>, <a href="https://publications.waset.org/abstracts/search?q=jerusalem%20identity" title=" jerusalem identity"> jerusalem identity</a>, <a href="https://publications.waset.org/abstracts/search?q=ottoman%20city" title=" ottoman city"> ottoman city</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20life" title=" urban life"> urban life</a> </p> <a href="https://publications.waset.org/abstracts/128462/wasif-jawharriyeh-and-the-identity-forming-spaces-of-late-ottoman-jerusalem" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/128462.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">10</span> Impact of Western Music Instruments on Indian Classical Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hukam%20Chand">Hukam Chand</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Over the past few years, the performance of Indian classical music has been improved a lot due to the technical inclusion of western instruments. Infect, the Indian classical music is all about raags which portray a mood and sentiments expressed through a microtonal scale based on natural harmonic series. And, most of the western instruments are not based on natural harmonic series and the tonal system is the only system which has considerable influence on the Indian classical music. However, the use of western instruments has been growing day by day in one way or the other by the Indian artists due to their quality of harmony. As a result of which, there are some common instruments such as harmonium, violin, guitar, saxophone, synthesizer which are being used commonly by Indian and western artists. On the other hand, a lot of fusion has taken place in the music of both sides due to the similar characteristics in their instruments. For example, harmonium which was originally the western instrument has now acquired an important position in Indian classical music to perform raags. Besides, a lot of suggestions for improving in the Indian music have been given by the artists for technical modification in the western instruments to cater the needs of Indian music through melody approach. Pt. Vishav Mohan Bhatt an Indian musician has developed Mohan Veena (called guitar) to perform raags. N. Rajam the Indian lady Violinist has made a remarkable work on Indian classical music by accompanied with vocal music. The purpose of the present research paper is to highlight the changes in Indian Classical Music through performance by using modified western music instruments. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Indian%20classical%20music" title="Indian classical music">Indian classical music</a>, <a href="https://publications.waset.org/abstracts/search?q=Western%20instruments" title=" Western instruments"> Western instruments</a>, <a href="https://publications.waset.org/abstracts/search?q=harmonium" title=" harmonium"> harmonium</a>, <a href="https://publications.waset.org/abstracts/search?q=guitar" title=" guitar"> guitar</a>, <a href="https://publications.waset.org/abstracts/search?q=Violin%20and%20impact" title=" Violin and impact"> Violin and impact</a> </p> <a href="https://publications.waset.org/abstracts/46996/impact-of-western-music-instruments-on-indian-classical-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/46996.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">521</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">9</span> Assessment of Music Performance Anxiety in Portuguese Children and Adolescents</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pedro%20Dias">Pedro Dias</a>, <a href="https://publications.waset.org/abstracts/search?q=Lurdes%20Verissimo"> Lurdes Verissimo</a>, <a href="https://publications.waset.org/abstracts/search?q=Maria%20Joao%20Baptista"> Maria Joao Baptista</a>, <a href="https://publications.waset.org/abstracts/search?q=Ana%20Pinheiro"> Ana Pinheiro</a>, <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Oliveira-Silva"> Patricia Oliveira-Silva</a>, <a href="https://publications.waset.org/abstracts/search?q=Sofia%20Serra"> Sofia Serra</a>, <a href="https://publications.waset.org/abstracts/search?q=Daniela%20Coimbra"> Daniela Coimbra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> To achieve a high standard in performance, a musician must be well in all aspects of health (physical, mental and social). Anxiety in performance is related to the high level of coordination and skill needed in performance, as well as to the public evaluation of the performer. It affects some key elements of performance, such as concentration, memory, motor coordination, and relaxation. This work presents two studies focused on the adaptation and evaluation of the psychometric properties of the Music Performance Anxiety Inventory (MPAI-A) in young Portuguese music students. The first study was conducted with a sample of 161 adolescent music students, who responded to the Portuguese version of this instrument, and to the State-Trait Anxiety Inventory for Children (STAIC-c2). Validity and reliability were examined, and this measure revealed robust psychometric properties in this sample. The second study aimed to adapt the MPAI to a younger population (one hundred 8-10 years-old music students). Again, the MPAI and the STAIC c-2 were used in this study. Exploratory factor analysis, correlations, and internal consistency were used to evaluate the final children version of the instrument (MPAI-C), presenting a different factor structure compared to the adolescent version (10 items organized in 2 factors) and high levels of reliability and convergent validity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=anxiety" title="anxiety">anxiety</a>, <a href="https://publications.waset.org/abstracts/search?q=assessment" title=" assessment"> assessment</a>, <a href="https://publications.waset.org/abstracts/search?q=children%20and%20adolescents" title=" children and adolescents"> children and adolescents</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20performance" title=" music performance"> music performance</a> </p> <a href="https://publications.waset.org/abstracts/98451/assessment-of-music-performance-anxiety-in-portuguese-children-and-adolescents" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98451.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">190</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">8</span> Memorizing Music and Learning Strategies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elisabeth%20Eder">Elisabeth Eder</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Memorizing music plays an important role for instrumentalists and has been researched very little so far. Almost every musician is confronted with memorizing music in the course of their musical career. For numerous competitions, examinations (e.g., at universities, music schools), solo performances, and the like, memorization is a requirement. Learners are often required to learn a piece by heart but are rarely given guidance on how to proceed. This was also confirmed by Eder's preliminary study to examine the topicality and relevance of the topic, in which 111 instrumentalists took part. The preliminary study revealed a great desire for more knowledge or information about learning strategies as well as a greater sense of security when performing by heart on stage through the use of learning strategies by those musicians who use learning strategies. Eder’s research focuses on learning strategies for memorizing music. As part of a large-scale empirical study – an online questionnaire translated into 10 languages was used to conduct the study – 1091 musicians from 64 different countries described how they memorize. The participants in the study also evaluated their learning strategies and justified their choice in terms of their degree of effectiveness. Based on the study and pedagogical literature, 100 learning strategies were identified and categorized; the strategies were examined with regard to their effectiveness, and instrument-specific, age-specific, country-specific, gender-specific, and education-related differences and similarities concerning the choice of learning strategies were investigated. Her research also deals with forms and models of memory and how music-related information can be stored and retrieved and also forgotten again. A further part is devoted to the possibilities that teachers and learners have to support the process of memorization independently of learning strategies. The findings resulting from Elisabeth Eder's research should enable musicians and instrumental students to memorize faster and more confidently. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=memorizing%20music" title="memorizing music">memorizing music</a>, <a href="https://publications.waset.org/abstracts/search?q=learning%20strategies" title=" learning strategies"> learning strategies</a>, <a href="https://publications.waset.org/abstracts/search?q=empirical%20study" title=" empirical study"> empirical study</a>, <a href="https://publications.waset.org/abstracts/search?q=effectiveness%20of%20strategies" title=" effectiveness of strategies"> effectiveness of strategies</a> </p> <a href="https://publications.waset.org/abstracts/183397/memorizing-music-and-learning-strategies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/183397.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">42</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7</span> Investigating Effect of Geometrical Proportions in Islamic Architecture and Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amir%20Hossein%20Allahdadi">Amir Hossein Allahdadi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The mystical and intuitive look of Islamic artists inspired by the Koranic and mystical principles and also based on the geometry and mathematics has left unique works whose range extends across the borders of Islam. The relationship between Islamic art and music in the traditional art is of one of the concepts that can be traced back to the other arts by detection of its components. One of the links is the art of painting whose subtleties that can be applicable to both architecture and music. So, architecture and music links can be traced in other arts with a traditional foundation in order to evaluate the equivalents of traditional arts. What is the relationship between physical space of architecture and nonphysical space of music? What is musical architecture? What is the music that tends to architecture? These questions are very small samples of the questions that arise in this category, and these questions and concerns remain as long as the music is played and the architecture is made. Efforts have been made in this area, references compiled and plans drawn. As an example, we can refer to views of ‘Mansour Falamaki’ in the book of architecture and music, as well as the book transition from mud to heart by ‘Hesamodin Seraj’. The method is such that a certain melody is given to an architect and it is tried to design a specified architecture using a certain theme. This study is not to follow the architecture of a particular type of music and the formation of a volume based on a sound. In this opportunity, it is tried to briefly review the relationship between music and architecture in the Iranian original and traditional arts, using the basic definitions of arts. The musician plays, the architect designs, the actor forms his desired space and painter displays his multi-dimensional world in the form of two-dimensions. The expression language is different, but all of them can be gathered in a form, a form which has no clear boundaries. In fact, in any original art, the artist applies his art as a tool to express his insights which are nothing but achieving the world beyond this place and time. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=architecture" title="architecture">architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=geometric%20proportions" title=" geometric proportions"> geometric proportions</a>, <a href="https://publications.waset.org/abstracts/search?q=mathematical%20proportions" title=" mathematical proportions"> mathematical proportions</a> </p> <a href="https://publications.waset.org/abstracts/45673/investigating-effect-of-geometrical-proportions-in-islamic-architecture-and-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/45673.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">244</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6</span> Insight2OSC: Using Electroencephalography (EEG) Rhythms from the Emotiv Insight for Musical Composition via Open Sound Control (OSC) </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Constanza%20Levic%C3%A1n">Constanza Levicán</a>, <a href="https://publications.waset.org/abstracts/search?q=Andr%C3%A9s%20Aparicio"> Andrés Aparicio</a>, <a href="https://publications.waset.org/abstracts/search?q=Rodrigo%20F.%20C%C3%A1diz"> Rodrigo F. Cádiz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The artistic usage of Brain-computer interfaces (BCI), initially intended for medical purposes, has increased in the past few years as they become more affordable and available for the general population. One interesting question that arises from this practice is whether it is possible to compose or perform music by using only the brain as a musical instrument. In order to approach this question, we propose a BCI for musical composition, based on the representation of some mental states as the musician thinks about sounds. We developed software, called Insight2OSC, that allows the usage of the Emotiv Insight device as a musical instrument, by sending the EEG data to audio processing software such as MaxMSP through the OSC protocol. We provide two compositional applications bundled with the software, which we call Mapping your Mental State and Thinking On. The signals produced by the brain have different frequencies (or rhythms) depending on the level of activity, and they are classified as one of the following waves: delta (0.5-4 Hz), theta (4-8 Hz), alpha (8-13 Hz), beta (13-30 Hz), gamma (30-50 Hz). These rhythms have been found to be related to some recognizable mental states. For example, the delta rhythm is predominant in a deep sleep, while beta and gamma rhythms have higher amplitudes when the person is awake and very concentrated. Our first application (Mapping your Mental State) produces different sounds representing the mental state of the person: focused, active, relaxed or in a state similar to a deep sleep by the selection of the dominants rhythms provided by the EEG device. The second application relies on the physiology of the brain, which is divided into several lobes: frontal, temporal, parietal and occipital. The frontal lobe is related to abstract thinking and high-level functions, the parietal lobe conveys the stimulus of the body senses, the occipital lobe contains the primary visual cortex and processes visual stimulus, the temporal lobe processes auditory information and it is important for memory tasks. In consequence, our second application (Thinking On) processes the audio output depending on the users’ brain activity as it activates a specific area of the brain that can be measured using the Insight device. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=BCI" title="BCI">BCI</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20composition" title=" music composition"> music composition</a>, <a href="https://publications.waset.org/abstracts/search?q=emotiv%20insight" title=" emotiv insight"> emotiv insight</a>, <a href="https://publications.waset.org/abstracts/search?q=OSC" title=" OSC"> OSC</a> </p> <a href="https://publications.waset.org/abstracts/64805/insight2osc-using-electroencephalography-eeg-rhythms-from-the-emotiv-insight-for-musical-composition-via-open-sound-control-osc" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64805.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">322</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5</span> Feminine Gender Identity in Nigerian Music Education: Trends, Challenges and Prospects</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Julius%20Oluwayomi%20Oluwadamilare">Julius Oluwayomi Oluwadamilare</a>, <a href="https://publications.waset.org/abstracts/search?q=Michael%20Olutayo%20Olatunji"> Michael Olutayo Olatunji </a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the African traditional societies, women have always played the role of a teacher, albeit informally. This is evident in the upbringing of their babies. As mothers, they also serve as the first teachers to teach their wards lessons through day-to-day activities. Furthermore, women always play the role of a musician during naming ceremonies, in the singing of lullabies, during initiation rites of adolescent boys and girls into adulthood, and in preparing their children especially daughters (and sons) for marriage. They also perform this role during religious and cultural activities, chieftaincy title/coronation ceremonies, singing of dirges during funeral ceremonies, and so forth. This traditional role of the African/Nigerian women puts them at a vantage point to contribute maximally to the teaching and learning of music at every level of education. The need for more women in the field of music education in Nigeria cannot be overemphasized. Today, gender equality is a major discourse in most countries of the world, Nigeria inclusive. Statistical data in the field of education and music education reveal the high ratio of male teachers/lecturers over their female counterparts in Nigerian tertiary institutions. The percentage is put at 80% Male and a distant 20% Female! This paper, therefore, examines feminine gender in Nigerian music education by tracing the involvement of women in musical practice from the pre-colonial to the post-colonial periods. The study employed both primary and secondary sources of data collection. The primary source included interviews conducted with 19 music lecturers from 8 purposively selected tertiary institutions from 4 geo-political zones of Nigeria. In addition, observation method was employed in the selected institutions. The results show, inter alia, that though there is a remarkable improvement in the rate of admission of female students into the music programme of Nigerian tertiary institutions, there is still an imbalance in the job placement in these institutions especially in the Colleges of Education which is the main focus of this research. Religious and socio-cultural factors are highly traceable to this development. This paper recommends the need for more female music teachers to be employed in the Nigerian tertiary institutions in line with the provisions stated in the Millennium Development Goals (MDGs) of the Federal Republic of Nigeria. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gender" title="gender">gender</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=women" title=" women"> women</a> </p> <a href="https://publications.waset.org/abstracts/54617/feminine-gender-identity-in-nigerian-music-education-trends-challenges-and-prospects" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/54617.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">205</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4</span> Tommy: Communication in Education about Disability</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Karen%20V.%20Lee">Karen V. Lee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The background and significance of this study involve communication in education by a faculty advisor exploring story and music that informs others about a disabled teacher. Social issues draw deep reflection about the emotional turmoil. As a musician becoming a teacher is a passionate yet complex endeavor, the faculty advisor shares a poetic but painful story about a disabled teacher being inducted into the teaching profession. The qualitative research method as theoretical framework draws on autoethnography of music and story where the faculty advisor approaches a professor for advice. His musicianship shifts her forward, backward, and sideways through feelings that evoke and provoke curriculum to remove communication barriers in education. They discover they do not transfer knowledge from educational method classes. Instead, the autoethnography embeds musical language as a metaphorical conduit for removing communication barriers in teacher education. Sub-themes involve communication barriers and educational technologies to ensure teachers receive social, emotional, physical, spiritual, and intervention disability resources that evoke visceral, emotional responses from the audience. Major findings of the study discover how autoethnography of music and story bring the authors to understand wider political issues of the practicum internship for teachers with disabilities. An epiphany reveals the irony of living in a culture of both uniformity and diversity. They explore the constructs of secrecy, ideology, abnormality, and marginalization by evoking visceral and emotional responses from the audience. As the voices harmonize plot, climax, characterization, and denouement, they dramatize meaning that is episodic yet incomplete to highlight the circumstances surrounding the disabled protagonist’s life. In conclusion, the qualitative research method argues for embracing storied experiences that depict communication in education. Scholarly significance embraces personal thoughts and feelings as a way of understanding social phenomena while highlighting the importance of removing communication barriers in education. The circumstance about a teacher with a disability is not uncommon in society. Thus, the authors resolve to removing barriers in education by using stories to transform the personal and cultural influences that provoke new ways of thinking about the curriculum for a disabled teacher. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communication%20in%20education" title="communication in education">communication in education</a>, <a href="https://publications.waset.org/abstracts/search?q=communication%20barriers" title=" communication barriers"> communication barriers</a>, <a href="https://publications.waset.org/abstracts/search?q=autoethnography" title=" autoethnography"> autoethnography</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching" title=" teaching"> teaching</a> </p> <a href="https://publications.waset.org/abstracts/42900/tommy-communication-in-education-about-disability" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/42900.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">240</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3</span> Vicarious Cues in Portraying Emotion: Musicians' Self-Appraisal</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=W.%20Linthicum-Blackhorse">W. Linthicum-Blackhorse</a>, <a href="https://publications.waset.org/abstracts/search?q=P.%20Martens"> P. Martens</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This present study seeks to discover attitudinal commonalities and differences within a musician population relative to the communication of emotion via music. We hypothesized that instrument type, as well as age and gender, would bear significantly on musicians’ opinions. A survey was administered to 178 participants; 152 were current music majors (mean age 20.3 years, 62 female) and 26 were adult participants in a community choir (mean age 54.0 years, 12 female). The adult participants were all vocalists, while student participants represented the full range of orchestral instruments. The students were grouped by degree program, (performance, music education, or other) and instrument type (voice, brass, woodwinds, strings, percussion). The survey asked 'How important are each of the following areas to you for portraying emotion in music?' Participants were asked to rate each of 15 items on a scale of 1 (not at all important) to 10 (very important). Participants were also instructed to leave blank any item that they did not understand. The 15 items were: dynamic contrast, overall volume, phrasing, facial expression, staging (placement), pitch accuracy, tempo changes, bodily movement, your mood, your attitude, vibrato, rubato, stage/room lighting, clothing type, and clothing color. Contrary to our hypothesis, there was no overall effect of gender or age, and neither did any single response item show a significant difference due to these subject parameters. Among the student participants, however, one-way ANOVA revealed a significant effect of degree program on the rated importance of four items: dynamic contrast, tempo changes, vibrato, and rubato. Significant effects of instrument type were found in the responses to eight items: facial expression, staging, body movement, vibrato, rubato, lighting, clothing type, and clothing color. Post hoc comparisons (Tukey) show that some variation follows from obvious differences between instrument types (e.g. string players are more concerned with vibrato than everyone but woodwind players; vocalists are significantly more concerned with facial expression than everyone but string players), but other differences could point to communal mindsets toward vicarious cues within instrument type. These mindsets could be global (e.g. brass players deeming body movement significantly less important than string players, being less often featured as soloists and appearing less often at the front of the stage) or local (e.g. string players being significantly more concerned than all other groups about both clothing color and type, perhaps due to the strongly-expressed opinions of specific teachers). Future work will attempt to identify the source of these self-appraisals, whether enculturated via explicit pedagogy, or whether absorbed from individuals' observations and performance experience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=performance" title="performance">performance</a>, <a href="https://publications.waset.org/abstracts/search?q=vicarious%20cues" title=" vicarious cues"> vicarious cues</a>, <a href="https://publications.waset.org/abstracts/search?q=communication" title=" communication"> communication</a>, <a href="https://publications.waset.org/abstracts/search?q=emotion" title=" emotion"> emotion</a> </p> <a href="https://publications.waset.org/abstracts/84528/vicarious-cues-in-portraying-emotion-musicians-self-appraisal" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/84528.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">110</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2</span> The Theme 'Leyli and Majnun', the Ancient Legend of the East in the Cognominal Symphonic Poem of Great Composer Gara Garayev on Specific and Non–Specific Content</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vusala%20Amirbayova">Vusala Amirbayova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The science of modern musicology, based on the achievements of a number of neighboring science fields, has more deeply penetrated into the sphere of artistic content of the art of music and developed a new scientific methodology, methods and approaches for a comprehensive study of the problem. In this regard, a new theory developed by the famous Russian musician-scientist, professor V. Kholopova – the specific and non – specific content of music – draws the attention with its different philosophical foundation and covering historical periods of the art of composing. The scientist related her theory to the art of European composer’s creativity, and did not include musical professionalism and especially, folklore creativity existing in other continent in her circle of interest. The researcher made an effort to explain triad (the world of ideas, emotions and subjects) which is included in the general content of music in the example of composers’ works belonging to different periods and cultures. In this respect, the artistic content of works has been deeply and comprehensively analyzed new philosophical basis. The theme ‘Leyli and Majnun’ was developed by many poets as one of the ancient legends of the East, and each artist was able to give a unique artistic interpretation of the work. This literary source was successfully developed in cognominal opera of great U. Hajibeyli in Azerbaijani music and its embodiment with symphonic means required great skill and courage from Gara Garayev. Unlike opera, as there is the opportunity to show the plot of ‘Leyli and Majnun’ in the symphonic poem, the composer achieved to reflect the main purpose of its idea convincingly with pure musical means, and created a great work with tragic spirit having a great emotional impact. Though the artistic content and form of ‘Leyli and Majnun’ symphonic poem have been sufficiently analyzed by music theorists until now, in our opinion, it is for the first time that the work is considered from the point of specific music content. Therefore, we will make an effort to penetrate into a specific layer of its artistic content after firstly reviewing the poem with traditional methods in the general plan. The use of both national fret – intonations and the system of major – minor by G. Garayev is based on well-tempered root. The composer, widely using national fret – intonations and model harmonic means on this ground, achieved to express the spirit and content of the poem. It perfectly embodies the grandeur and immortality of divine love, and the struggle of powerful human personality with the forces of despotism. Gara Garayev said about this work: “My most sublime goal and desire is to explain the literary issue that love endures to all obstacles and overcomes even death”. The music of ‘Leyli and Majnun’ symphonic poem is rich with deep desires and sharp contradictions. G.Garayev reflected these wonderful ideas about the power of music in his book ‘Articles, schools and sayings’: “Music is the decoration of life and a powerful source of inspiration”. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=content" title="content">content</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=symphonic" title=" symphonic"> symphonic</a>, <a href="https://publications.waset.org/abstracts/search?q=theory" title=" theory"> theory</a> </p> <a href="https://publications.waset.org/abstracts/53273/the-theme-leyli-and-majnun-the-ancient-legend-of-the-east-in-the-cognominal-symphonic-poem-of-great-composer-gara-garayev-on-specific-and-non-specific-content" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53273.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">268</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1</span> Classical Improvisation Facilitating Enhanced Performer-Audience Engagement and a Mutually Developing Impulse Exchange with Concert Audiences</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pauliina%20Haustein">Pauliina Haustein</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Improvisation was part of Western classical concert culture and performers’ skill sets until early 20th century. Historical accounts, as well as recent studies, indicate that improvisatory elements in the programme may contribute specifically towards the audiences’ experience of enhanced emotional engagement during the concert. This paper presents findings from the author’s artistic practice research, which explored re-introducing improvisation to Western classical performance practice as a musician (cellist and ensemble partner/leader). In an investigation of four concert cycles, the performer-researcher sought to gain solo and chamber music improvisation techniques (both related to and independent of repertoire), conduct ensemble improvisation rehearsals, design concerts with an improvisatory approach, and reflect on interactions with audiences after each concert. Data was collected through use of reflective diary, video recordings, measurement of sound parameters, questionnaires, a focus group, and interviews. The performer’s empirical experiences and findings from audience research components were juxtaposed and interrogated to better understand the (1) rehearsal and planning processes that enable improvisatory elements to return to Western classical concert experience and (2) the emotional experience and type of engagement that occur throughout the concert experience for both performer and audience members. This informed the development of a concert model, in which a programme of solo and chamber music repertoire and improvisations were combined according to historically evidenced performance practice (including free formal solo and ensemble improvisations based on audience suggestions). Inspired by historical concert culture, where elements of risk-taking, spontaneity, and audience involvement (such as proposing themes for fantasies) were customary, this concert model invited musicians to contribute to the process personally and creatively at all stages, from programme planning, and throughout the live concert. The type of democratic, personal, creative, and empathetic collaboration that emerged, as a result, appears unique in Western classical contexts, rather finding resonance in jazz ensemble, drama, or interdisciplinary settings. The research identified features of ensemble improvisation, such as empathy, emergence, mutual engagement, and collaborative creativity, that became mirrored in audience’s responses, generating higher levels of emotional engagement, empathy, inclusivity, and a participatory, co-creative experience. It appears that duringimprovisatory moments in the concert programme, audience members started feeling more like active participants in za\\a creative, collaborative exchange and became stakeholders in a deeper phenomenon of meaning-making and narrativization. Examining interactions between all involved during the concert revealed that performer-audience impulse exchange occurred on multiple levels of awareness and seemed to build upon each other, resulting in particularly strong experiences of both performer and audience’s engagement. This impact appeared especially meaningful for audience members who were seldom concertgoers and reported little familiarity with classical music. The study found that re-introducing improvisatory elements to Western classical concert programmes has strong potential in increasing audience’s emotional engagement with the musical performance, enabling audience members to connect more personally with the individual performers, and in reaching new-to-classical-music audiences. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20research" title="artistic research">artistic research</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20engagement" title=" audience engagement"> audience engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20experience" title=" audience experience"> audience experience</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20improvisation" title=" classical improvisation"> classical improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=ensemble%20improvisation" title=" ensemble improvisation"> ensemble improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20engagement" title=" emotional engagement"> emotional engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisatory%20approach" title=" improvisatory approach"> improvisatory approach</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20performance" title=" musical performance"> musical performance</a>, <a href="https://publications.waset.org/abstracts/search?q=practice%20research" title=" practice research"> practice research</a> </p> <a href="https://publications.waset.org/abstracts/145986/classical-improvisation-facilitating-enhanced-performer-audience-engagement-and-a-mutually-developing-impulse-exchange-with-concert-audiences" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/145986.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">128</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET celebrates its 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