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learning</title> <meta name="description" content="Search results for: music learning"> <meta name="keywords" content="music learning"> <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 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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="music learning"> <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> 7632</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: music learning</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7632</span> Realization Mode and Theory for Extensible Music Cognition Education: Taking Children's Music Education as an Example</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yumeng%20He">Yumeng He</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this paper is to establish the “extenics” of children music education, the “extenics” thought and methods are introduced into the children music education field. Discussions are made from the perspective of children music education on how to generate new music cognitive from music cognitive, how to generate new music education from music education and how to generate music learning from music learning. The research methods including the extensibility of music art, extensibility of music education, extensibility of music capability and extensibility of music learning. Results of this study indicate that the thought and research methods of children’s extended music education not only have developed the “extenics” concept and ideological methods, meanwhile, the brand-new thought and innovative research perspective have been employed in discussing the children music education. As indicated in research, the children’s extended music education has extended the horizon of children music education, and has endowed the children music education field with a new thought and research method. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=comprehensive%20evaluations" title="comprehensive evaluations">comprehensive evaluations</a>, <a href="https://publications.waset.org/abstracts/search?q=extension%20thought" title=" extension thought"> extension thought</a>, <a href="https://publications.waset.org/abstracts/search?q=extension%20cognition%20music%20education" title=" extension cognition music education"> extension cognition music education</a>, <a href="https://publications.waset.org/abstracts/search?q=extensibility" title=" extensibility"> extensibility</a> </p> <a href="https://publications.waset.org/abstracts/104068/realization-mode-and-theory-for-extensible-music-cognition-education-taking-childrens-music-education-as-an-example" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/104068.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">225</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">7631</span> The Multi-Sensory Teaching Practice for Primary Music Classroom in China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xiao%20Liulingzi">Xiao Liulingzi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It is important for using multi-sensory teaching in music learning. This article aims to provide knowledge in multi-sensory learning and teaching music in primary school. For primary school students, in addition to the training of basic knowledge and skills of music, students' sense of participation and creativity in music class are the key requirements, especially the flexibility and dynamics in music class, so that students can integrate into music and feel the music. The article explains the multi-sensory sense in music learning, the differences between multi-sensory music teaching and traditional music teaching, and music multi-sensory teaching in primary schools in China. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multi-sensory" title="multi-sensory">multi-sensory</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching%20practice" title=" teaching practice"> teaching practice</a>, <a href="https://publications.waset.org/abstracts/search?q=primary%20music%20classroom" title=" primary music classroom"> primary music classroom</a>, <a href="https://publications.waset.org/abstracts/search?q=China" title=" China"> China</a> </p> <a href="https://publications.waset.org/abstracts/159646/the-multi-sensory-teaching-practice-for-primary-music-classroom-in-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/159646.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">130</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">7630</span> Using Music: An Effective Medium of Teaching Vocabulary in ESL Classroom</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Takwa%20Jahan">Takwa Jahan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music can be used in ESL classroom to create a learning environment. As literature abounds with positive statements, music can be used as a vehicle for second language acquisition. Music can be applied as an instrument to help second language learners to acquire vocabulary, grammar, spelling and other four skills and to expand cultural knowledge. Vocabulary learning is perceived boring by learners. As listening to music and singing songs are enjoyable to students, it can be used effectively to acquire vocabulary in second language. This paper reports a study to find out how music exhilarates vocabulary acquisition as the learners stay relaxed and thus learning becomes more enjoyable. For conducting my research two groups of fifty students- music and non-music group were formed. Data were collected through class observation, test, questionnaires, and interview. The finding shows that music group acquired much amount of vocabulary than the non-music group. They enjoyed vocabulary learning activities based on listening songs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=effective%20instrument" title="effective instrument">effective instrument</a>, <a href="https://publications.waset.org/abstracts/search?q=ESL%20classroom" title=" ESL classroom"> ESL classroom</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=relax%20environment" title=" relax environment"> relax environment</a>, <a href="https://publications.waset.org/abstracts/search?q=vocabulary%20learning" title=" vocabulary learning"> vocabulary learning</a> </p> <a href="https://publications.waset.org/abstracts/67012/using-music-an-effective-medium-of-teaching-vocabulary-in-esl-classroom" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67012.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">372</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">7629</span> Technology, Music Education, and Social-Emotional Learning in Latin America</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jinan%20Laurentia%20Woo">Jinan Laurentia Woo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores the intersection of technology, music education, and social-emotional learning (SEL) with a focus on Latin America. It delves into the impact of music education on social-emotional skills development, highlighting the universal significance of music across various life stages. The integration of artificial intelligence (AI) in music education is discussed, emphasizing its potential to enhance learning experiences. The paper also examines the implementation of SEL strategies in Latin American public schools, emphasizing the importance of fostering social-emotional well-being in educational settings. Challenges such as unequal access to technology and education in the region are addressed, calling for further research and investment in tech-assisted music education. <p class="card-text"><strong>Keywords:</strong> <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=social%20emotional%20learning" title=" social emotional learning"> social emotional learning</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20technology" title=" educational technology"> educational technology</a>, <a href="https://publications.waset.org/abstracts/search?q=Latin%20America" title=" Latin America"> Latin America</a>, <a href="https://publications.waset.org/abstracts/search?q=artificial%20intelligence" title=" artificial intelligence"> artificial intelligence</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a> </p> <a href="https://publications.waset.org/abstracts/183500/technology-music-education-and-social-emotional-learning-in-latin-america" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/183500.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">7628</span> An Ontology for Smart Learning Environments in Music Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Konstantinos%20Sofianos">Konstantinos Sofianos</a>, <a href="https://publications.waset.org/abstracts/search?q=Michail%20Stefanidakis"> Michail Stefanidakis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nowadays, despite the great advances in technology, most educational frameworks lack a strong educational design basis. E-learning has become prevalent, but it faces various challenges such as student isolation and lack of quality in the learning process. An intelligent learning system provides a student with educational material according to their learning background and learning preferences. It records full information about the student, such as demographic information, learning styles, and academic performance. This information allows the system to be fully adapted to the student’s needs. In this paper, we propose a framework and an ontology for music education, consisting of the learner model and all elements of the learning process (learning objects, teaching methods, learning activities, assessment). This framework can be integrated into an intelligent learning system and used for music education in schools for the development of professional skills and beyond. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=intelligent%20learning%20systems" title="intelligent learning systems">intelligent learning systems</a>, <a href="https://publications.waset.org/abstracts/search?q=e-learning" title=" e-learning"> e-learning</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a>, <a href="https://publications.waset.org/abstracts/search?q=ontology" title=" ontology"> ontology</a>, <a href="https://publications.waset.org/abstracts/search?q=semantic%20web" title=" semantic web"> semantic web</a> </p> <a href="https://publications.waset.org/abstracts/153256/an-ontology-for-smart-learning-environments-in-music-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/153256.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">7627</span> OSEME: A Smart Learning Environment for Music Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Konstantinos%20Sofianos">Konstantinos Sofianos</a>, <a href="https://publications.waset.org/abstracts/search?q=Michael%20Stefanidakis"> Michael Stefanidakis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nowadays, advances in information and communication technologies offer a range of opportunities for new approaches, methods, and tools in the field of education and training. Teacher-centered learning has changed to student-centered learning. E-learning has now matured and enables the design and construction of intelligent learning systems. A smart learning system fully adapts to a student's needs and provides them with an education based on their preferences, learning styles, and learning backgrounds. It is a wise friend and available at any time, in any place, and with any digital device. In this paper, we propose an intelligent learning system, which includes an ontology with all elements of the learning process (learning objects, learning activities) and a massive open online course (MOOC) system. This intelligent learning system can be used in music education. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=intelligent%20learning%20systems" title="intelligent learning systems">intelligent learning systems</a>, <a href="https://publications.waset.org/abstracts/search?q=e-learning" title=" e-learning"> e-learning</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a>, <a href="https://publications.waset.org/abstracts/search?q=ontology" title=" ontology"> ontology</a>, <a href="https://publications.waset.org/abstracts/search?q=semantic%20web" title=" semantic web"> semantic web</a> </p> <a href="https://publications.waset.org/abstracts/168933/oseme-a-smart-learning-environment-for-music-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/168933.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">311</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">7626</span> Improving Music Appreciation and Narrative Abilities of Students with Intellectual Disabilities through a College Service-Learning Model</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shan-Ken%20Chien">Shan-Ken Chien</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research aims to share the application of the Music and Narrative Curriculum developed through a college community service-learning course to a special education classroom in a local secondary school. The development of the Music and Narrative Curriculum stems from the music appreciation courses that the author has taught at the university. The curriculum structure consists of three instructional phases, each with three core literacy. This study will show the implementation of an eighteen-week general music education course, including classroom training on the university campus and four intervention music lessons in a special education classroom. Students who participated in the Music and Narrative Curriculum came from two different parts. One is twenty-five college students enrolling in Music Literacy and Community Service-Learning, and the other one is nine junior high school students with intellectual disabilities (ID) in a special education classroom. This study measures two parts. One is the effectiveness of the Music and Narrative Curriculum in applying four interventions in music lessons in a special education classroom, and the other is measuring college students' service-learning experiences and growth outcomes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=college%20service-learning" title="college service-learning">college service-learning</a>, <a href="https://publications.waset.org/abstracts/search?q=general%20music%20education" title=" general music education"> general music education</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20literacy" title=" music literacy"> music literacy</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative%20skills" title=" narrative skills"> narrative skills</a>, <a href="https://publications.waset.org/abstracts/search?q=students%20with%20special%20needs" title=" students with special needs"> students with special needs</a> </p> <a href="https://publications.waset.org/abstracts/171822/improving-music-appreciation-and-narrative-abilities-of-students-with-intellectual-disabilities-through-a-college-service-learning-model" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/171822.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">81</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">7625</span> Program Level Learning Outcomes in Music and Technology: Toward Improved Assessment and Better Communication</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Susan%20Lewis">Susan Lewis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The assessment of learning outcomes at the program level has attracted much international interest from the perspectives of quality assurance and ongoing curricular redesign and renewal. This paper examines program-level learning outcomes in the field of music and technology, an area of study that has seen an explosion in program development over the past fifteen years. The Audio Engineering Society (AES) maintains an online directory of educational institutions worldwide, yielding the most comprehensive inventory of programs and courses in music and technology. The inventory includes courses, programs, and degrees in music and technology, music and computer science, music production, and the music industry. This paper focuses on published student learning outcomes for undergraduate degrees in music and technology and analyses commonalities at institutions in North America, the United Kingdom, and Europe. The results of a survey of student learning outcomes at twenty institutions indicates a focus on three distinct student learning outcomes: (1) cross-disciplinary knowledge in the fields of music and technology; (2) the practical application of training through the professional industry; and (3) the acquisition of skills in communication and collaboration. The paper then analyses assessment mechanisms for tracking student learning and achievement of learning outcomes at these institutions. The results indicate highly variable assessment practices. Conclusions offer recommendations for enhancing assessment techniques and better communicating learning outcomes to students. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=quality%20assurance" title="quality assurance">quality assurance</a>, <a href="https://publications.waset.org/abstracts/search?q=student%20learning%3B%20learning%20outcomes" title=" student learning; learning outcomes"> student learning; learning outcomes</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20and%20technology" title=" music and technology"> music and technology</a> </p> <a href="https://publications.waset.org/abstracts/122231/program-level-learning-outcomes-in-music-and-technology-toward-improved-assessment-and-better-communication" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/122231.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">185</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7624</span> Generating Music with More Refined Emotions</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shao-Di%20Feng">Shao-Di Feng</a>, <a href="https://publications.waset.org/abstracts/search?q=Von-Wun%20Soo"> Von-Wun Soo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> To generate symbolic music with specific emotions is a challenging task due to symbolic music datasets that have emotion labels are scarce and incomplete. This research aims to generate more refined emotions based on the training datasets that are only labeled with four quadrants in Russel’s 2D emotion model. We focus on the theory of Music Fadernet and map arousal and valence to the low-level attributes, and build a symbolic music generation model by combining transformer and GM-VAE. We adopt an in-attention mechanism for the model and improve it by allowing modulation by conditional information. And we show the music generation model could control the generation of music according to the emotions specified by users in terms of high-level linguistic expression and by manipulating their corresponding low-level musical attributes. Finally, we evaluate the model performance using a pre-trained emotion classifier against a pop piano midi dataset called EMOPIA, and by subjective listening evaluation, we demonstrate that the model could generate music with more refined emotions correctly. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20generation" title="music generation">music generation</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20emotion%20controlling" title=" music emotion controlling"> music emotion controlling</a>, <a href="https://publications.waset.org/abstracts/search?q=deep%20learning" title=" deep learning"> deep learning</a>, <a href="https://publications.waset.org/abstracts/search?q=semi-supervised%20learning" title=" semi-supervised learning"> semi-supervised learning</a> </p> <a href="https://publications.waset.org/abstracts/156710/generating-music-with-more-refined-emotions" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156710.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">89</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">7623</span> Teacher’s Perception of Dalcroze Method Course as Teacher’s Enhancement Course: A Case Study in Hong Kong</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ka%20Lei%20Au">Ka Lei Au</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Dalcroze method has been emerging in music classrooms, and music teachers are encouraged to integrate music and movement in their teaching. Music programs in colleges in Hong Kong have been introducing method courses such as Orff and Dalcroze method in music teaching as teacher’s education program. Since the targeted students of the course are music teachers who are making the decision of what approach to use in their classroom, their perception is significantly valued to identify how this approach is applicable in their teaching in regards to the teaching and learning culture and environment. This qualitative study aims to explore how the Dalcroze method as a teacher’s education course is perceived by music teachers from three aspects: 1) application in music teaching, 2) self-enhancement, 3) expectation. Through the lens of music teachers, data were collected from 30 music teachers who are taking the Dalcroze method course in music teaching in Hong Kong by the survey. The findings reveal the value and their intention of the Dalcroze method in Hong Kong. It also provides a significant reference for better development of such courses in the future in adaption to the culture, teaching and learning environment and teacher’s, student’s and parent’s perception of this approach. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dalcroze%20method" title="Dalcroze method">Dalcroze method</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20teaching" title=" music teaching"> music teaching</a>, <a href="https://publications.waset.org/abstracts/search?q=perception" title=" perception"> perception</a>, <a href="https://publications.waset.org/abstracts/search?q=self-enhancement" title=" self-enhancement"> self-enhancement</a>, <a href="https://publications.waset.org/abstracts/search?q=teacher%E2%80%99s%20education" title=" teacher’s education"> teacher’s education</a> </p> <a href="https://publications.waset.org/abstracts/146561/teachers-perception-of-dalcroze-method-course-as-teachers-enhancement-course-a-case-study-in-hong-kong" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146561.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">404</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">7622</span> Music Note Detection and Dictionary Generation from Music Sheet Using Image Processing Techniques</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Ammar">Muhammad Ammar</a>, <a href="https://publications.waset.org/abstracts/search?q=Talha%20Ali"> Talha Ali</a>, <a href="https://publications.waset.org/abstracts/search?q=Abdul%20Basit"> Abdul Basit</a>, <a href="https://publications.waset.org/abstracts/search?q=Bakhtawar%20Rajput"> Bakhtawar Rajput</a>, <a href="https://publications.waset.org/abstracts/search?q=Zobia%20Sohail"> Zobia Sohail</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music note detection is an area of study for the past few years and has its own influence in music file generation from sheet music. We proposed a method to detect music notes on sheet music using basic thresholding and blob detection. Subsequently, we created a notes dictionary using a semi-supervised learning approach. After notes detection, for each test image, the new symbols are added to the dictionary. This makes the notes detection semi-automatic. The experiments are done on images from a dataset and also on the captured images. The developed approach showed almost 100% accuracy on the dataset images, whereas varying results have been seen on captured images. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20note" title="music note">music note</a>, <a href="https://publications.waset.org/abstracts/search?q=sheet%20music" title=" sheet music"> sheet music</a>, <a href="https://publications.waset.org/abstracts/search?q=optical%20music%20recognition" title=" optical music recognition"> optical music recognition</a>, <a href="https://publications.waset.org/abstracts/search?q=blob%20detection" title=" blob detection"> blob detection</a>, <a href="https://publications.waset.org/abstracts/search?q=thresholding" title=" thresholding"> thresholding</a>, <a href="https://publications.waset.org/abstracts/search?q=dictionary%20generation" title=" dictionary generation"> dictionary generation</a> </p> <a href="https://publications.waset.org/abstracts/133670/music-note-detection-and-dictionary-generation-from-music-sheet-using-image-processing-techniques" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133670.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">181</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">7621</span> Constructing Notation for Music Learning in Athletes: Identifying Key Concepts in Music and Body Movements</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fung%20Chiat%20Loo">Fung Chiat Loo</a>, <a href="https://publications.waset.org/abstracts/search?q=Fung%20Ying%20Loo"> Fung Ying Loo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper discusses, suggests, and constructs a notation system to facilitate the learning and understanding of the two aspects of music and movement in a sports routine. This model serves to provide a simple and logical notation that does not require training in both music and choreography. Notation is an important medium in many art forms, particularly in music and dance, transmitting information that cannot easily be expressed using words or language. Another field that is closely associated with dance and music is sports routine, which equally requires choreography and music. However, from the perspective of music, it is common to observe many incongruencies appearing between the music used and the choreography that impede an optimal perception of the performance. The concept of the notation proceeds with a discussion and review of existing dance notations that could contribute to sports routines, along with rules and a code of points in selected sports routines. The author's involvement as an insider of numerous musical theatre productions also contributed to this study. The notation constructed includes time (tempo), significances of musical accents, direction, and phrasing, along with significances of movements (jump, punch, shape). It is believed that the level of congruence between music and movement will provide optimal visualization, and in that, the notation serves to provide adequate information on both entities for the understanding of athletes and coaches. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=notation" title="notation">notation</a>, <a href="https://publications.waset.org/abstracts/search?q=choreography" title=" choreography"> choreography</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20learning" title=" music learning"> music learning</a>, <a href="https://publications.waset.org/abstracts/search?q=sports%20routines" title=" sports routines"> sports routines</a>, <a href="https://publications.waset.org/abstracts/search?q=congruence" title=" congruence"> congruence</a> </p> <a href="https://publications.waset.org/abstracts/160824/constructing-notation-for-music-learning-in-athletes-identifying-key-concepts-in-music-and-body-movements" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160824.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">83</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">7620</span> A Collaborative Action Research on the Teaching of Music Learning Center in Taiwan's Preschool</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mei-Ying%20Liao">Mei-Ying Liao</a>, <a href="https://publications.waset.org/abstracts/search?q=Lee-Ching%20Wei"> Lee-Ching Wei</a>, <a href="https://publications.waset.org/abstracts/search?q=Jung-Hsiang%20Tseng"> Jung-Hsiang Tseng</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main purpose of this study was to explore the process of planning and execution of the music learning center in preschool. This study was conducted through a collaborative action research method. The research members included a university music professor, a teaching guide, a preschool director, and a preschool teacher, leading a class of 5-6-year-old children to participate in this study. Five teaching cycles were performed with a subject of bird. In the whole process that lasted three months, the research members would maintain the conversation, reflection, and revision repeatedly. A triangular validated method was used to collect data, including archives, interviews, seminars, observations, journals, and learning evaluations to improve research on the validity and reliability. It was found that a successful music learning center required comprehensive planning and execution. It is also important to develop good listening, singing, respect, and homing habits at the beginning of running the music learning center. By timely providing diverse musical instruments, learning materials, and activities according to the teaching goals, children’s desire to learning was highly stimulated. Besides, peer interactions improved their ensemble and problem-solving abilities. The collaborative action research enhanced the preschool teacher’s confidence and promoted professional growth of the research members. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=collaborative%20action%20research" title="collaborative action research">collaborative action research</a>, <a href="https://publications.waset.org/abstracts/search?q=case%20study" title=" case study"> case study</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20learning%20center" title=" music learning center"> music learning center</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20development" title=" music development"> music development</a> </p> <a href="https://publications.waset.org/abstracts/65529/a-collaborative-action-research-on-the-teaching-of-music-learning-center-in-taiwans-preschool" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65529.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">7619</span> The Operating Results of the English General Music Course on the Education Platform</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shan-Ken%20Chine">Shan-Ken Chine</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research aims to a one-year course run of String Music Appreciation, an international online course launched on the British open education platform. It explains how to present music teaching videos with three main features. They are music lesson explanations, instrumental playing demonstrations, and live music performances. The plan of this course is with four major themes and a total of 97 steps. In addition, the paper also uses the testing data provided by the education platform to analyze the performance of learners and to understand the operation of the course. It contains three test data in the statistics dashboard. They are course-run measures, total statistics, and statistics by week. The paper ends with a review of the course's star rating in this one-year run. The result of this course run will be adjusted when it starts again in the future. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20online%20courses" title="music online courses">music online courses</a>, <a href="https://publications.waset.org/abstracts/search?q=MOOCs" title=" MOOCs"> MOOCs</a>, <a href="https://publications.waset.org/abstracts/search?q=ubiquitous%20learning" title=" ubiquitous learning"> ubiquitous learning</a>, <a href="https://publications.waset.org/abstracts/search?q=string%20music" title=" string music"> string music</a>, <a href="https://publications.waset.org/abstracts/search?q=general%20music%20education" title=" general music education"> general music education</a> </p> <a href="https://publications.waset.org/abstracts/186110/the-operating-results-of-the-english-general-music-course-on-the-education-platform" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186110.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">37</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">7618</span> Lines for a Different Approach in Music Education: A Review of the Concept of Musicality</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Emmanuel%20Carlos%20De%20Mata%20Castrej%C3%B3n">Emmanuel Carlos De Mata Castrejón</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music education has shown to be connected to many areas of sciences and arts, it has also been associated with several facets of human life. The many aspects around the study of music and education, make very difficult for the music educator to find a way through, even though there are lots of methods of teaching music to young children, they are different between one another and so are the students. For the music to help improve children’s development, it is necessary for the children to explore their musicality as they explore their creativity; it must be a challenging, playful, and enjoyable activity. The purpose of this investigation is to focus the music education not in the music, nor the teaching, but the children to be guided through their own musicality. The first approach to this kind of music education comes from the Active learning methods during the nineteenth century, most of which are still used around the world, sometimes with modifications to fit a certain place or type of students. This approach on children’s musicality requires some knowledge of music, pedagogy, and developmental psychology at least, but more important than the theory or the method used for music education, the focus should be on developing the student’s musicality, considering the complexity of this concept. To get this, it is needed, indeed, far more research in the topic, so this is a call for collaborative research and for interdisciplinary teams to emerge. This is a review of authors and methods in music education trying to trace a line pointing to transdisciplinary work and pursuing the development of children’s musicality. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=children" title="children">children</a>, <a href="https://publications.waset.org/abstracts/search?q=methods" title=" methods"> methods</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=musicality" title=" musicality"> musicality</a> </p> <a href="https://publications.waset.org/abstracts/71797/lines-for-a-different-approach-in-music-education-a-review-of-the-concept-of-musicality" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71797.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">332</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">7617</span> Exploring How Online Applications Help Students to Learn Music Virtually: A Study in an Australian Music Academy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ali%20Shah">Ali Shah</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper outlines the case study experience of using a variety of online strategies in an Australian music academy context during covid times. The study aimed at exploring how online applications help students to learn music, specifically playing musical instruments, composing songs, and performing virtually. To explore this, music teachers’ perceptions and experiences regarding online learning, the teaching strategies they implemented, and the challenges they faced were examined. For the purpose of this study, a qualitative research structure was adopted through the use of three data collection tools. These methods included pre- and post-research individual interviews of teachers and students, analysis of their lesson plans, virtual classroom observations of the teachers followed by the researcher’sown reflections, post-observation discussions, and teachers’ reflective journals. The findings revealed that teachers had a theoretical understanding of virtual learning and recent musical application such as Flowkey, Skoove, and Piano marvel, which are benefits of e-learning. While teachers faced challenges in implementing strategies to teach keyboard/piano online, overall, both students and teachers felt the positive impact of online applications and strategies on their learning and felt that modern technology made it possible for anyone to take music lessons at home. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=keyboard" title=" keyboard"> keyboard</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=online%20learning" title=" online learning"> online learning</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20learning" title=" virtual learning"> virtual learning</a> </p> <a href="https://publications.waset.org/abstracts/158433/exploring-how-online-applications-help-students-to-learn-music-virtually-a-study-in-an-australian-music-academy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/158433.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">75</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">7616</span> Forward Conditional Restricted Boltzmann Machines for the Generation of Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Johan%20Loeckx">Johan Loeckx</a>, <a href="https://publications.waset.org/abstracts/search?q=Joeri%20Bultheel"> Joeri Bultheel</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Recently, the application of deep learning to music has gained popularity. Its true potential, however, has been largely unexplored. In this paper, a new idea for representing the dynamic behavior of music is proposed. A ”forward” conditional RBM takes into account not only preceding but also future samples during training. Though this may sound controversial at first sight, it will be shown that it makes sense from a musical and neuro-cognitive perspective. The model is applied to reconstruct music based upon the first notes and to improvise in the musical style of a composer. Different to expectations, reconstruction accuracy with respect to a regular CRBM with the same order, was not significantly improved. More research is needed to test the performance on unseen data. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=deep%20learning" title="deep learning">deep learning</a>, <a href="https://publications.waset.org/abstracts/search?q=restricted%20boltzmann%20machine" title=" restricted boltzmann machine"> restricted boltzmann machine</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20generation" title=" music generation"> music generation</a>, <a href="https://publications.waset.org/abstracts/search?q=conditional%20restricted%20boltzmann%20machine%20%28CRBM%29" title=" conditional restricted boltzmann machine (CRBM)"> conditional restricted boltzmann machine (CRBM)</a> </p> <a href="https://publications.waset.org/abstracts/19489/forward-conditional-restricted-boltzmann-machines-for-the-generation-of-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/19489.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">522</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7615</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">7614</span> Practice of Applying MIDI Technology to Train Creative Teaching Skills</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yang%20Zhuo">Yang Zhuo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study explores the integration of MIDI technology as one of the important digital technologies in music teaching, from the perspective of teaching practice, into the process of cultivating students' teaching skills. At the same time, the framework elements of the learning environment for music education students are divided into four aspects: digital technology supported learning space, new knowledge learning, teaching methods, and teaching evaluation. In teaching activities, more attention should be paid to students' subjectivity and interaction between them so as to enhance their emotional experience in teaching practice simulation. In the process of independent exploration and cooperative interaction, problems should be discovered and solved, and basic knowledge of music and teaching methods should be exercised in practice. <p class="card-text"><strong>Keywords:</strong> <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=educational%20technology" title=" educational technology"> educational technology</a>, <a href="https://publications.waset.org/abstracts/search?q=MIDI" title=" MIDI"> MIDI</a>, <a href="https://publications.waset.org/abstracts/search?q=teacher%20training" title=" teacher training"> teacher training</a> </p> <a href="https://publications.waset.org/abstracts/167874/practice-of-applying-midi-technology-to-train-creative-teaching-skills" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167874.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">84</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7613</span> Music Training as an Innovative Approach to the Treatment of Language Disabilities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jonathan%20Bolduc">Jonathan Bolduc</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Studies have demonstrated the effectiveness of music training approaches to help children with language disabilities. Because music is closely associated with a number of cognitive functions, including language, it has been hypothesized that musical skills transfer to other domains. Research suggests that music training strengthens basic auditory processing skills in dyslexic children and may ameliorate phonological deficits. Furthermore, music instruction has the particular advantage of being non-literacy-based, thus removing the frustrations that can be associated with reading and writing activities among children with specific learning disabilities. In this study, we assessed the effect of implementing an intensive music program on the development of language skills (phonological and reading) in 4- to 9-year-old children. Seventeen children (N=17) participated in the study. The experiment took place over 6 weeks in a controlled environment. Eighteen lessons of 40 minutes were offered during this period by two music specialists. The Dalcroze, Orff, and Kodaly approaches were used. A series of qualitative measures were implemented to document the contribution of music training to this population. Currently, the data is being analyzed. The first results show that learning music seems to significantly improve verbal memory. We already know that language disabilities are considered one of the main causes of school dropout as well as later professional and social failure. We aim to corroborate that an integrated music education program can provide children with language disabilities with the same opportunities to develop and succeed in school as their classmates. Scientifically, the results will contribute to advance the knowledge by identifying the more effective music education strategies to improve the overall development of children worldwide. <p class="card-text"><strong>Keywords:</strong> <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" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20education" title=" art education"> art education</a>, <a href="https://publications.waset.org/abstracts/search?q=language%20diasabilities" title=" language diasabilities"> language diasabilities</a> </p> <a href="https://publications.waset.org/abstracts/139875/music-training-as-an-innovative-approach-to-the-treatment-of-language-disabilities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/139875.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">231</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">7612</span> The Functions of the Student Voice and Student-Centred Teaching Practices in Classroom-Based Music Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sofia%20Douklia">Sofia Douklia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present context paper aims to present the important role of ‘student voice’ and the music teacher in the classroom, which contributes to more student-centered music education. The aim is to focus on the functions of the student voice through the music spectrum, which has been born in the music classroom, and the teacher’s methodologies and techniques used in the music classroom. The music curriculum, the principles of student-centered music education, and the role of students and teachers as music ambassadors have been considered the major music parameters of student voice. The student- voice is a worth-mentioning aspect of a student-centered education, and all teachers should consider and promote its existence in their classroom. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=student%27s%20voice" title="student's voice">student's voice</a>, <a href="https://publications.waset.org/abstracts/search?q=student-centered%20education" title=" student-centered education"> student-centered education</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20ambassadors" title=" music ambassadors"> music ambassadors</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20teachers" title=" music teachers"> music teachers</a> </p> <a href="https://publications.waset.org/abstracts/155423/the-functions-of-the-student-voice-and-student-centred-teaching-practices-in-classroom-based-music-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155423.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">91</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">7611</span> Analyzing Music Theory in Different Countries: Compare with Greece and China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Baoshan%20Wang">Baoshan Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present study investigates how music theory has developed across different countries due to their diverse histories, religions, and cultural differences. It is unknown how these various factors may contribute to differences in music theory across countries. Therefore, we examine the differences between China and Greece, which have developed unique music theories over time. Specifically, our analysis looks at musical notation and scales. For example, Tonal music originates from Greece, which harbors quite complex notation and scaling. There exist seven notes in each scale within seven modes of scales. Each mode of the diatonic scale has a unique temperament, two of which are most commonly used in modern music. In contrast, we find that Chinese music has only five notes in its scales. Interestingly, a unique feature of Chinese music theory is that there is no half-step, resulting in a highly divergent and culture-specific sound. Fascinatingly, these differences may arise from the contrasting ways that Western and Eastern musicians perceive music. While Western musicians tend to believe in music “without borders,” Eastern musicians generally embrace differing perspectives. Yet, the vast majority of colleges or music conservatories teach the borderless theory of Western music, which renders the music educational system incomplete. This is critically important because learning music is not simply a profession for musicians. Rather, it is an intermediary to facilitate understanding and appreciation for different countries’ cultures and religions. Education is undoubtedly the optimal mode to promote different countries’ music theory so people across the world can learn more about music and, in turn, each other. Even though Western music theory is predominantly taught, it is crucial we also pursue an understanding of other countries’ music because their unique aspects contribute to the systematic completeness of Music Theory in its entirety. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture" title="culture">culture</a>, <a href="https://publications.waset.org/abstracts/search?q=development" title=" development"> development</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20theory" title=" music theory"> music theory</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20history" title=" music history"> music history</a>, <a href="https://publications.waset.org/abstracts/search?q=religion" title=" religion"> religion</a>, <a href="https://publications.waset.org/abstracts/search?q=western%20music" title=" western music"> western music</a> </p> <a href="https://publications.waset.org/abstracts/156725/analyzing-music-theory-in-different-countries-compare-with-greece-and-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156725.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">94</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">7610</span> Cognition Technique for Developing a World Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Haider%20Javed%20Uppal">Haider Javed Uppal</a>, <a href="https://publications.waset.org/abstracts/search?q=Javed%20Yunas%20Uppal"> Javed Yunas Uppal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In today's globalized world, it is necessary to develop a form of music that is able to evoke equal emotional responses among people from diverse cultural backgrounds. Indigenous cultures throughout history have developed their own music cognition, specifically in terms of the connections between music and mood. With the advancements in artificial intelligence technologies, it has become possible to analyze and categorize music features such as timbre, harmony, melody, and rhythm and relate them to the resulting mood effects experienced by listeners. This paper presents a model that utilizes a screenshot translator to convert music from different origins into waveforms, which are then analyzed using machine learning and information retrieval techniques. By connecting these waveforms with Thayer's matrix of moods, a mood classifier has been developed using fuzzy logic algorithms to determine the emotional impact of different types of music on listeners from various cultures. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cognition" title="cognition">cognition</a>, <a href="https://publications.waset.org/abstracts/search?q=world%20music" title=" world music"> world music</a>, <a href="https://publications.waset.org/abstracts/search?q=artificial%20intelligence" title=" artificial intelligence"> artificial intelligence</a>, <a href="https://publications.waset.org/abstracts/search?q=Thayer%E2%80%99s%20matrix" title=" Thayer’s matrix"> Thayer’s matrix</a> </p> <a href="https://publications.waset.org/abstracts/170445/cognition-technique-for-developing-a-world-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170445.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">81</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">7609</span> Detecting Music Enjoyment Level Using Electroencephalogram Signals and Machine Learning Techniques</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Raymond%20Feng">Raymond Feng</a>, <a href="https://publications.waset.org/abstracts/search?q=Shadi%20Ghiasi"> Shadi Ghiasi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> An electroencephalogram (EEG) is a non-invasive technique that records electrical activity in the brain using scalp electrodes. Researchers have studied the use of EEG to detect emotions and moods by collecting signals from participants and analyzing how those signals correlate with their activities. In this study, researchers investigated the relationship between EEG signals and music enjoyment. Participants listened to music while data was collected. During the signal-processing phase, power spectral densities (PSDs) were computed from the signals, and dominant brainwave frequencies were extracted from the PSDs to form a comprehensive feature matrix. A machine learning approach was then taken to find correlations between the processed data and the music enjoyment level indicated by the participants. To improve on previous research, multiple machine learning models were employed, including K-Nearest Neighbors Classifier, Support Vector Classifier, and Decision Tree Classifier. Hyperparameters were used to fine-tune each model to further increase its performance. The experiments showed that a strong correlation exists, with the Decision Tree Classifier with hyperparameters yielding 85% accuracy. This study proves that EEG is a reliable means to detect music enjoyment and has future applications, including personalized music recommendation, mood adjustment, and mental health therapy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=EEG" title="EEG">EEG</a>, <a href="https://publications.waset.org/abstracts/search?q=electroencephalogram" title=" electroencephalogram"> electroencephalogram</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=mood" title=" mood"> mood</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20enjoyment" title=" music enjoyment"> music enjoyment</a>, <a href="https://publications.waset.org/abstracts/search?q=physiological%20signals" title=" physiological signals"> physiological signals</a> </p> <a href="https://publications.waset.org/abstracts/182307/detecting-music-enjoyment-level-using-electroencephalogram-signals-and-machine-learning-techniques" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/182307.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">7608</span> Issues in the Learning and Construction of a National Music Identity in Multiracial Malaysia: Diversity, Complexity, and Contingency</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Loo%20Fung%20Ying">Loo Fung Ying</a>, <a href="https://publications.waset.org/abstracts/search?q=Loo%20Fung%20Chiat"> Loo Fung Chiat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The formation of a musical identity that shapes the nation in this multiracial country reveals many complexities, conundrums, and contingencies. Creativity and identity formation at the level of an individual or a collective group further diversified musical expression, representation, and style, which has led to an absence of regularities. In addition, ‘contemporizing accretion,’ borrowing a term used by Schnelle in theology (2009), further complicates musical identity, authenticity, conception, and realization. Thus, in this paper, we attempt to define the issues surrounding the teaching and learning of the multiracial Malaysian national music identity. We also discuss unnecessary power hierarchies, interracial conflicts, and sentiments in the construct of a multiracial national music identity by referring to genetic origins, the evolution of music, and the neglected issues of representation and reception at a global level from a diachronic perspective. Lastly, by synthesizing Ladson-Billings, Gay, Kruger, and West-Burns’s culturally relevant/responsive pedagogical theories, we discuss possible analytic tools for consideration that are more multiculturally relevant and responsive for the teaching, learning, and construction of a multiracial Malaysian national music identity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Malaysia" title="Malaysia">Malaysia</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=multiracial" title=" multiracial"> multiracial</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20music%20identity" title=" national music identity"> national music identity</a>, <a href="https://publications.waset.org/abstracts/search?q=culturally%20relevant%2Fresponsive%20pedagogy" title=" culturally relevant/responsive pedagogy"> culturally relevant/responsive pedagogy</a> </p> <a href="https://publications.waset.org/abstracts/160835/issues-in-the-learning-and-construction-of-a-national-music-identity-in-multiracial-malaysia-diversity-complexity-and-contingency" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160835.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">201</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">7607</span> Motivational Qualities of and Flow State Responses to Participant-Selected Music and Researcher-Selected Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nurul%20A.%20Hamzah">Nurul A. Hamzah</a>, <a href="https://publications.waset.org/abstracts/search?q=Tony%20Morris"> Tony Morris</a>, <a href="https://publications.waset.org/abstracts/search?q=Dan%20Van%20Der%20Westhuizen"> Dan Van Der Westhuizen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music listening can potentially promote the achievement of flow state during exercise. Selecting music for exercise should consider the motivational factors-internal factors (music tempo and musicality) and external factors (cultural impact and association). This study was a cross-over study which was designed to examine the motivational qualities of music (participant-selected music and researcher-selected music) and flow state responses during exercise accompanying with music. 17 healthy participants (M=30.2, SD=6.3 years old) were among low physical activity individuals. Participants completed two separate sessions of 30 minutes of moderate intensity exercise (40-60% of Heart Rate Reserve) while listening to music. Half the participants at random were assigned to exercise with participant-selected music first, and half were assigned to exercise with researcher-selected music first. Parameters including flow state responses (Flow State Scale-2) and motivational music rating (Brunel Music Rating Inventory-2) were administered immediately after the exercise. Results from this study showed that there were no significant differences for both flow state t(32)=0.00, p>0.05 and motivational music rating t(32)= .393, p>0.05 between exercise with participant-selected music and exercise with researcher-selected music. Listening to music either participant or researcher selected music could promote flow experience during exercise when music is perceived as motivational. Music tempo and music preference are factors that could influence individuals to enjoy exercise and improve the exercise performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=motivational%20music" title="motivational music">motivational music</a>, <a href="https://publications.waset.org/abstracts/search?q=flow%20state" title=" flow state"> flow state</a>, <a href="https://publications.waset.org/abstracts/search?q=researcher-selected%20music" title=" researcher-selected music"> researcher-selected music</a>, <a href="https://publications.waset.org/abstracts/search?q=participant-selected%20music" title=" participant-selected music"> participant-selected music</a> </p> <a href="https://publications.waset.org/abstracts/50776/motivational-qualities-of-and-flow-state-responses-to-participant-selected-music-and-researcher-selected-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/50776.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">384</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">7606</span> Wearable Music: Generation of Costumes from Music and Generative Art and Wearing Them by 3-Way Projectors</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Noriki%20Amano">Noriki Amano</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The final goal of this study is to create another way in which people enjoy music through the performance of 'Wearable Music'. Concretely speaking, we generate colorful costumes in real- time from music and to realize their dressing by projecting them to a person. For this purpose, we propose three methods in this study. First, a method of giving color to music in a three-dimensionally way. Second, a method of generating images of costumes from music. Third, a method of wearing the images of music. In particular, this study stands out from other related work in that we generate images of unique costumes from music and realize to wear them. In this study, we use the technique of generative arts to generate images of unique costumes and project the images to the fog generated around a person from 3-way using projectors. From this study, we can get how to enjoy music as 'wearable'. Furthermore, we are also able to have the prospect of unconventional entertainment based on the fusion between music and costumes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=entertainment%20computing" title="entertainment computing">entertainment computing</a>, <a href="https://publications.waset.org/abstracts/search?q=costumes" title=" costumes"> costumes</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=generative%20programming" title=" generative programming"> generative programming</a> </p> <a href="https://publications.waset.org/abstracts/98352/wearable-music-generation-of-costumes-from-music-and-generative-art-and-wearing-them-by-3-way-projectors" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98352.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">173</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">7605</span> A Sense of Belonging: Music Learning and School Connectedness</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Johanna%20Gamboa-Kroesen">Johanna Gamboa-Kroesen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> School connectedness, or the sense of belonging at school, is a critical factor in adolescent health, academic achievement, and socioemotional well-being. In educational research, the construct of the psychological sense of school membership is often referred to as school engagement, school bonding, or school attachment. While current research recognizes school connectedness as integral to a child’s mental health and academic success, many schools have yet to develop adequate interventions to promote a child’s overall sense of belonging at school. However, prior researches in music education indicates that, among other benefits, music classrooms may provide an environment where students feel they belong. While studies indicates that music learning environments, specifically performing ensemble learning environments, instill a sense of school connectedness and, more broadly, contribute to a student’s socio-emotional development, there has been inadequate research on how the actions of music teachers contribute to this phenomenon. The purpose of this study was to examine the relationship between school connectedness and music learning environments with middle school music students enrolled in a school-based music ensemble. In addition, the study aimed to provide a descriptive analysis of the instructional practices that music teachers use to promote an inclusive environment in their classrooms and an overall sense of belonging in their students. Using 191 student surveys of school membership, student reflective writings, 5 teacher interviews, and 10 classroom observations, this study examined the relationship between 7th and 8th-grade student-reported levels of connectedness within their school-based music ensemble and teacher instructional practice. The study found that students reported high levels of positive school membership within their music classes. Students who participate in school-based orchestra ensembles reported a positive change in emotional state during music instruction. In addition, evidence in this study found that music teachers use instructional practices to build connectedness through de-emphasizing competition and strengthening a student’s sense of relational value within their music learning experience. The findings offer implications for future music teacher instruction to create environments of inclusion, strengthen student-teacher relationships, and promote strategies that enhance student connection to school. <p class="card-text"><strong>Keywords:</strong> <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=belonging" title=" belonging"> belonging</a>, <a href="https://publications.waset.org/abstracts/search?q=instructional%20practice" title=" instructional practice"> instructional practice</a>, <a href="https://publications.waset.org/abstracts/search?q=school%20connectedness" title=" school connectedness"> school connectedness</a> </p> <a href="https://publications.waset.org/abstracts/169582/a-sense-of-belonging-music-learning-and-school-connectedness" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/169582.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">69</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">7604</span> A Conceptual Framework for Integrating Musical Instrument Digital Interface Composition in the Music Classroom</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aditi%20Kashi">Aditi Kashi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> While educational technologies have taken great strides, especially in Musical Instrument Digital Interface (MIDI) composition, teachers across the world are still adjusting to incorporate such technology into their curricula. While using MIDI in the classroom has become more common, limited class time and a strong focus on performance have made composition a lesser priority. The balance between music theory, performance time, and composition learning is delicate and difficult to maintain for many music educators. This makes including MIDI in the classroom. To address this issue, this paper aims to outline a general conceptual framework centered around a key element of music theory to integrate MIDI composition into the music classroom to not only introduce students to digital composition but also enhance their understanding of music theory and its applicability. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=educational%20framework" title="educational framework">educational framework</a>, <a href="https://publications.waset.org/abstracts/search?q=education%20technology" title=" education technology"> education technology</a>, <a href="https://publications.waset.org/abstracts/search?q=MIDI" title=" MIDI"> MIDI</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/155266/a-conceptual-framework-for-integrating-musical-instrument-digital-interface-composition-in-the-music-classroom" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155266.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">86</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7603</span> Musical Diversity: The Differences between Public and Private Kindergartens in China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kunyu%20Yan">Kunyu Yan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Early childhood music education plays a significant role in an individual’s growth. Music can help children understand themselves and relate to others, and make connections between family, school, and society. In recent years, with the development of early childhood education in China, an increasing number of kindergartens have been established, and many of them pay more attention to music education. This research has two main aims. One is to discover how and why music is used in both public and private kindergartens. The second aim is to make recommendations for widening the use of music in kindergartens. In order to achieve these aims, the research uses two main methods. Firstly, it considers the historical background and cultural context of early childhood education in China; and secondly, it uses an approach that compares public and private kindergartens. In this research, six kindergartens were chosen from Qingdao city in Shandong Province as case studies, including 3 public kindergartens and 3 private kindergartens. This research was based on using three types of data collection methods: observation, semi-structured interviews with teachers, and questionnaires with parents. Participant and non-participant observational methods were used and included in daily routines at the kindergartens in order to experience the situation of music education first-hand. Interviews were associated with teachers’ views of teaching and learning music, the perceptions of the music context, and their strategies of using music. Lastly, the questionnaire was designed to obtain the views of current music education from the children’s parents in the respective kindergartens. The results are shown with three main themes: (1) distinct characteristics of public kindergartens (e.g., similar equipment, low tuition fee, qualified teachers, etc); (2) distinct characteristics of private kindergartens (e.g., various tuition fees, own teaching system, trained teachers, etc); and (3) differences between public and private kindergartens (e.g., funding, requirements for teachers, parents’ demands, etc). According to the results, we can see that the main purpose of using music in China is to develop the musical ability of children, and teachers focus on musical learning, such as singing in tune and playing instruments. However, as revealed in this research, there are many other uses and functions of music in these educational settings, including music used for non-musical learning (e.g., counting, learning language, etc.) or in supporting social routines. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=differences%20between%20private%20and%20public%20school" title="differences between private and public school">differences between private and public school</a>, <a href="https://publications.waset.org/abstracts/search?q=early%20childhood%20education" title=" early childhood education"> early childhood education</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=uses%20and%20functions%20of%20music" title=" uses and functions of music"> uses and functions of music</a> </p> <a 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