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information geometry</title> <meta name="description" content="Search results for: musical information geometry"> <meta name="keywords" content="musical information geometry"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="musical information geometry"> <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> 11994</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: musical information geometry</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11874</span> Dynamic Modeling of a Robot for Playing a Curved 3D Percussion Instrument Utilizing a Finite Element Method</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Prakash%20Persad">Prakash Persad</a>, <a href="https://publications.waset.org/abstracts/search?q=Kelvin%20Loutan"> Kelvin Loutan</a>, <a href="https://publications.waset.org/abstracts/search?q=Trichelle%20Seepersad"> Trichelle Seepersad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Finite Element Method is commonly used in the analysis of flexible manipulators to predict elastic displacements and develop joint control schemes for reducing positioning error. In order to preserve simplicity, regular geometries, ideal joints and connections are assumed. This paper presents the dynamic FE analysis of a 4- degrees of freedom open chain manipulator, intended for striking a curved 3D surface percussion musical instrument. This was done utilizing the new MultiBody Dynamics Module in COMSOL, capable of modeling the elastic behavior of a body undergoing rigid body type motion. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dynamic%20modeling" title="dynamic modeling">dynamic modeling</a>, <a href="https://publications.waset.org/abstracts/search?q=entertainment%20robots" title=" entertainment robots"> entertainment robots</a>, <a href="https://publications.waset.org/abstracts/search?q=finite%20element%20method" title=" finite element method"> finite element method</a>, <a href="https://publications.waset.org/abstracts/search?q=flexible%20robot%20manipulators" title=" flexible robot manipulators"> flexible robot manipulators</a>, <a href="https://publications.waset.org/abstracts/search?q=multibody%20dynamics" title=" multibody dynamics"> multibody dynamics</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20robots" title=" musical robots"> musical robots</a> </p> <a href="https://publications.waset.org/abstracts/9382/dynamic-modeling-of-a-robot-for-playing-a-curved-3d-percussion-instrument-utilizing-a-finite-element-method" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9382.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">337</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">11873</span> Educatronic Prototype for Learning Geometry, Based on a Multitouch Surface</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vicario%20Marina">Vicario Marina</a>, <a href="https://publications.waset.org/abstracts/search?q=Bustos%20Freddy"> Bustos Freddy</a>, <a href="https://publications.waset.org/abstracts/search?q=Olivares%20Jes%C3%BAs"> Olivares Jesús</a>, <a href="https://publications.waset.org/abstracts/search?q=G%C3%B3mez%20Pilar"> Gómez Pilar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents a didactic model and a tool as educational resources to support the learning of geometry; they focus on topics difficult to understand. The target population is elementary school students. The tool is based on a collaborative educational approach using multi-touch devices. The proposal is based on the challenges found in the instructional design and prototype implementation. Traditionally, elementary students have had many problems assimilating mathematical topics; this new Educatronic prototype facilitates the learning experience using exercises and they were tested with different children demonstrating the benefits of the prototype by improving their mathematical skills. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=educatronic%20prototype" title="educatronic prototype">educatronic prototype</a>, <a href="https://publications.waset.org/abstracts/search?q=geometry" title=" geometry"> geometry</a>, <a href="https://publications.waset.org/abstracts/search?q=multitouch%20surface" title=" multitouch surface"> multitouch surface</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20computing" title=" educational computing"> educational computing</a>, <a href="https://publications.waset.org/abstracts/search?q=primary%20school" title=" primary school"> primary school</a>, <a href="https://publications.waset.org/abstracts/search?q=mathematics" title=" mathematics"> mathematics</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20informatics" title=" educational informatics"> educational informatics</a> </p> <a href="https://publications.waset.org/abstracts/29914/educatronic-prototype-for-learning-geometry-based-on-a-multitouch-surface" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29914.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">319</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11872</span> A Comparative Study on the Effects of Different Clustering Layouts and Geometry of Urban Street Canyons on Urban Heat Island in Residential Neighborhoods of Kolkata</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shreya%20Banerjee">Shreya Banerjee</a>, <a href="https://publications.waset.org/abstracts/search?q=Roshmi%20Sen"> Roshmi Sen</a>, <a href="https://publications.waset.org/abstracts/search?q=Subrata%20Chattopadhyay"> Subrata Chattopadhyay</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Urbanization during the second half of the last century has created many serious environment related issues leading to global warming and climate change. India is not an exception as the country is also facing the problems of global warming and urban heat islands (UHI) in all the major metropolises. This paper discusses the effect of different housing cluster layouts, site geometry, and geometry of urban street canyons on the urban heat island profile. The study is carried out using the three dimensional microclimatic computational fluid dynamics model ENVI-met version 3.1. Simulation models are done for a typical summer day of 21st June, 2015 in four different residential neighborhoods in the city of Kolkata which predominantly belongs to Warm-Humid Monsoon Climate. The results show the changing pattern of urban heat island profile with respect to different clustering layouts, geometry, and morphology of urban street canyons. The comparison between the four neighborhoods shows that different microclimatic variables are strongly dependant on the neighborhood layout pattern and geometry. The inferences obtained from this study can be indicative towards the formulation of neighborhood design by-laws that will attenuate the urban heat island effect. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=urban%20heat%20island" title="urban heat island">urban heat island</a>, <a href="https://publications.waset.org/abstracts/search?q=neighborhood%20morphology" title=" neighborhood morphology"> neighborhood morphology</a>, <a href="https://publications.waset.org/abstracts/search?q=site%20microclimate" title=" site microclimate"> site microclimate</a>, <a href="https://publications.waset.org/abstracts/search?q=ENVI-met" title=" ENVI-met"> ENVI-met</a>, <a href="https://publications.waset.org/abstracts/search?q=numerical%20analysis" title=" numerical analysis"> numerical analysis</a> </p> <a href="https://publications.waset.org/abstracts/39607/a-comparative-study-on-the-effects-of-different-clustering-layouts-and-geometry-of-urban-street-canyons-on-urban-heat-island-in-residential-neighborhoods-of-kolkata" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/39607.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">368</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">11871</span> Obsession of Time and the New Musical Ontologies. The Concert for Saxophone, Daniel Kientzy and Orchestra by Myriam Marbe</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dutica%20Luminita">Dutica Luminita</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For the music composer Myriam Marbe the musical time and memory represent 2 (complementary) phenomena with conclusive impact on the settlement of new musical ontologies. Summarizing the most important achievements of the contemporary techniques of composition, her vision on the microform presented in The Concert for Daniel Kientzy, saxophone and orchestra transcends the linear and unidirectional time in favour of a flexible, multi-vectorial speech with spiral developments, where the sound substance is auto(re)generated by analogy with the fundamental processes of the memory. The conceptual model is of an archetypal essence, the music composer being concerned with identifying the mechanisms of the creation process, especially of those specific to the collective creation (of oral tradition). Hence the spontaneity of expression, improvisation tint, free rhythm, micro-interval intonation, coloristic-timbral universe dominated by multiphonics and unique sound effects. Hence the atmosphere of ritual, however purged by the primary connotations and reprojected into a wonderful spectacular space. The Concert is a work of artistic maturity and enforces respect, among others, by the timbral diversity of the three species of saxophone required by the music composer (baritone, sopranino and alt), in Part III Daniel Kientzy shows the performance of playing two saxophones concomitantly. The score of the music composer Myriam Marbe contains a deeply spiritualized music, full or archetypal symbols, a music whose drama suggests a real cinematographic movement. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=archetype" title="archetype">archetype</a>, <a href="https://publications.waset.org/abstracts/search?q=chronogenesis" title=" chronogenesis"> chronogenesis</a>, <a href="https://publications.waset.org/abstracts/search?q=concert" title=" concert"> concert</a>, <a href="https://publications.waset.org/abstracts/search?q=multiphonics" title=" multiphonics"> multiphonics</a> </p> <a href="https://publications.waset.org/abstracts/29047/obsession-of-time-and-the-new-musical-ontologies-the-concert-for-saxophone-daniel-kientzy-and-orchestra-by-myriam-marbe" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29047.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">543</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">11870</span> Hydro-Mechanical Forming of AZ31 Sheet</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yong-Nam%20Kwon">Yong-Nam Kwon</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the present study, we have designed the hydro-mechanical forming in which AZ31 sheet was drawn to a kind of preform step following gas blow forming for accurate geometry. In order to judge a formability enhancement of AZ31 sheet, model geometry came from a practical automotive part which had quite depth with complicated curvatures, which was proven that a single sheet forming could not gave a successful part. Experimentally, we succeeded to make the model part with accurate dimension. The optimum forming conditions for respective forming steps were considered most important technical features of this hydro-mechanical and would be discussed in details. Also, the effort to avoid detrimental abnormal grain growth was given and discussed for a practical application. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=hydro-mechanical%20forming" title="hydro-mechanical forming">hydro-mechanical forming</a>, <a href="https://publications.waset.org/abstracts/search?q=AZ31" title=" AZ31"> AZ31</a>, <a href="https://publications.waset.org/abstracts/search?q=abnormal%20grain%20growth" title=" abnormal grain growth"> abnormal grain growth</a>, <a href="https://publications.waset.org/abstracts/search?q=model%20geometry" title=" model geometry"> model geometry</a> </p> <a href="https://publications.waset.org/abstracts/9497/hydro-mechanical-forming-of-az31-sheet" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9497.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">513</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">11869</span> Perception of Eco-Music From the Contents the Earth’s Sound Ecosystem</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Joni%20Asitashvili">Joni Asitashvili</a>, <a href="https://publications.waset.org/abstracts/search?q=Eka%20Chabashvili"> Eka Chabashvili</a>, <a href="https://publications.waset.org/abstracts/search?q=Maya%20Virsaladze"> Maya Virsaladze</a>, <a href="https://publications.waset.org/abstracts/search?q=Alexander%20Chokhonelidze"> Alexander Chokhonelidze</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Studying the soundscape is a major challenge in many countries of the civilized world today. The sound environment and music itself are part of the Earth's ecosystem. Therefore, researching its positive or negative impact is important for a clean and healthy environment. The acoustics of nature gave people many musical ideas, and people enriched musical features and performance skills with the ability to imitate the surrounding sound. For example, a population surrounded by mountains invented the technique of antiphonal singing, which mimics the effect of an echo. Canadian composer Raymond Murray Schafer viewed the world as a kind of musical instrument with ever-renewing tuning. He coined the term "Soundscape" as a name of a natural environmental sound, including the sound field of the Earth. It can be said that from which the “music of nature” is constructed. In the 21st century, a new field–Ecomusicology–has emerged in the field of musical art to study the sound ecosystem and various issues related to it. Ecomusicology considers the interconnections between music, culture, and nature–According to the Aaron Allen. Eco-music is a field of ecomusicology concerning with the depiction and realization of practical processes using modern composition techniques. Finding an artificial sound source (instrumental or electronic) for the piece that will blend into the soundscape of Sound Oases. Creating a composition, which sounds in harmony with the vibrations of human, nature, environment, and micro- macrocosm as a whole; Currently, we are exploring the ambient sound of the Georgian urban and suburban environment to discover “Sound Oases" and compose Eco-music works. We called “Sound Oases" an environment with a specific sound of the ecosystem to use in the musical piece as an instrument. The most interesting examples of Eco-music are the round dances, which were already created in the BC era. In round dances people would feel the united energy. This urge to get united revealed itself in our age too, manifesting itself in a variety of social media. The virtual world, however, is not enough for a healthy interaction; we created plan of “contemporary round dance” in sound oasis, found during expedition in Georgian caves, where people interacted with cave's soundscape and eco-music, they feel each other sharing energy and listen to earth sound. This project could be considered a contemporary round dance, a long improvisation, particular type of art therapy, where everyone can participate in an artistic process. We would like to present research result of our eco-music experimental performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=eco-music" title="eco-music">eco-music</a>, <a href="https://publications.waset.org/abstracts/search?q=environment" title=" environment"> environment</a>, <a href="https://publications.waset.org/abstracts/search?q=sound" title=" sound"> sound</a>, <a href="https://publications.waset.org/abstracts/search?q=oasis" title=" oasis"> oasis</a> </p> <a href="https://publications.waset.org/abstracts/173544/perception-of-eco-music-from-the-contents-the-earths-sound-ecosystem" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173544.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">11868</span> Listening to Circles, Playing Lights: A Study of Cross-Modal Perception in Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Roni%20Granot">Roni Granot</a>, <a href="https://publications.waset.org/abstracts/search?q=Erica%20Polini"> Erica Polini</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music is often described in terms of non-auditory adjectives such as a rising melody, a bright sound, or a zigzagged contour. Such cross modal associations have been studied with simple isolated musical parameters, but only rarely in rich musical contexts. The current study probes cross sensory associations with polarity based dimensions by means of pairings of 10 adjectives: blunt-sharp, relaxed-tense, heavy-light, low (in space)-high, low (pitch)-high, big-small, hard-soft, active-passive, bright-dark, sad-happy. 30 participants (randomly assigned to one of two groups) were asked to rate one of 27 short saxophone improvisations on a 1 to 6 scale where 1 and six correspond to the opposite pole of each dimension. The 27 improvisations included three exemplars for each of three dimensions (size, brightness, sharpness), played by three different players. Here we focus on the question of whether ratings of scales corresponding with the musical dimension were consistently rated as such (e.g. music improvised to represent a white circle rated as bright in contrast with music improvised to represent a dark circle rated as dark). Overall the average scores by dimension showed an upward trend in the equivalent verbal scale, with a low rating for small, bright and sharp musical improvisations and higher scores for large, dark and blunt improvisations. Friedman tests indicate a statistically significant difference for brightness (χ2 (2) = 19.704, p = .000) and sharpness dimensions (χ2 (2) = 15.750, p = .000), but not for size (χ2 (2) = 1.444, p = .486). Post hoc analysis with Wilcoxon signed-rank tests within the brightness dimension, show significant differences among all possible parings resulted in significant differences: the rankings of 'bright' and 'dark' (Z = -3.310, p = .001), of 'bright' and 'medium' (Z = -2.438, p = .015) and of 'dark' and 'medium' music (Z = -2.714, p = .007); but only differences between the extreme contrasts within the sharpness dimension : 'sharp' and 'blunt' music (Z = -3.147, p = .002) and between 'sharp' and 'medium' music rated on the sharpness scale (Z = - 3.054, p = .002), but not between 'medium' and 'blunt' music (Z = -.982, p = .326). In summary our study suggests a privileged link between music and the perceptual and semantic domain of brightness. In contrast, size seems to be very difficult to convey in music, whereas sharpness seems to be mapped onto the two extremes (sharp vs. blunt) rather than continuously. This is nicely reflected in the musical literature in titles and texts which stress the association between music and concepts of light or darkness rather than sharpness or size. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audiovisual" title="audiovisual">audiovisual</a>, <a href="https://publications.waset.org/abstracts/search?q=brightness" title=" brightness"> brightness</a>, <a href="https://publications.waset.org/abstracts/search?q=cross-modal%20perception" title=" cross-modal perception"> cross-modal perception</a>, <a href="https://publications.waset.org/abstracts/search?q=cross-sensory%20correspondences" title=" cross-sensory correspondences"> cross-sensory correspondences</a>, <a href="https://publications.waset.org/abstracts/search?q=size" title=" size"> size</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20angularity" title=" visual angularity"> visual angularity</a> </p> <a href="https://publications.waset.org/abstracts/57313/listening-to-circles-playing-lights-a-study-of-cross-modal-perception-in-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/57313.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">220</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11867</span> Event Related Brain Potentials Evoked by Carmen in Musicians and Dancers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hanna%20Poikonen">Hanna Poikonen</a>, <a href="https://publications.waset.org/abstracts/search?q=Petri%20Toiviainen"> Petri Toiviainen</a>, <a href="https://publications.waset.org/abstracts/search?q=Mari%20Tervaniemi"> Mari Tervaniemi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Event-related potentials (ERPs) evoked by simple tones in the brain have been extensively studied. However, in reality the music surrounding us is spectrally and temporally complex and dynamic. Thus, the research using natural sounds is crucial in understanding the operation of the brain in its natural environment. Music is an excellent example of natural stimulation, which, in various forms, has always been an essential part of different cultures. In addition to sensory responses, music elicits vast cognitive and emotional processes in the brain. When compared to laymen, professional musicians have stronger ERP responses in processing individual musical features in simple tone sequences, such as changes in pitch, timbre and harmony. Here we show that the ERP responses evoked by rapid changes in individual musical features are more intense in musicians than in laymen, also while listening to long excerpts of the composition Carmen. Interestingly, for professional dancers, the amplitudes of the cognitive P300 response are weaker than for musicians but still stronger than for laymen. Also, the cognitive P300 latencies of musicians are significantly shorter whereas the latencies of laymen are significantly longer. In contrast, sensory N100 do not differ in amplitude or latency between musicians and laymen. These results, acquired from a novel ERP methodology for natural music, suggest that we can take the leap of studying the brain with long pieces of natural music also with the ERP method of electroencephalography (EEG), as has already been made with functional magnetic resonance (fMRI), as these two brain imaging devices complement each other. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=electroencephalography" title="electroencephalography">electroencephalography</a>, <a href="https://publications.waset.org/abstracts/search?q=expertise" title=" expertise"> expertise</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20features" title=" musical features"> musical features</a>, <a href="https://publications.waset.org/abstracts/search?q=real-life%20music" title=" real-life music"> real-life music</a> </p> <a href="https://publications.waset.org/abstracts/25311/event-related-brain-potentials-evoked-by-carmen-in-musicians-and-dancers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/25311.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">484</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">11866</span> Immediate Geometric Solution of Irregular Quadrilaterals: A Digital Tool Applied to Topography</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Miguel%20Mariano%20Rivera%20Galvan">Miguel Mariano Rivera Galvan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this research was to create a digital tool by which users can obtain an immediate and accurate solution of the angular characteristics of an irregular quadrilateral. The development of this project arose because of the frequent absence of a polygon’s geometric information in land ownership accreditation documents. The researcher created a mathematical model using a linear approximation iterative method, employing various disciplines and techniques including trigonometry, geometry, algebra, and topography. This mathematical model uses as input data the surface of the quadrilateral, as well as the length of its sides, to obtain its interior angles and make possible its representation in a coordinate system. The results are as accurate and reliable as the user requires, offering the possibility of using this tool as a support to develop future engineering and architecture projects quickly and reliably. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20tool" title="digital tool">digital tool</a>, <a href="https://publications.waset.org/abstracts/search?q=geometry" title=" geometry"> geometry</a>, <a href="https://publications.waset.org/abstracts/search?q=mathematical%20model" title=" mathematical model"> mathematical model</a>, <a href="https://publications.waset.org/abstracts/search?q=quadrilateral" title=" quadrilateral"> quadrilateral</a>, <a href="https://publications.waset.org/abstracts/search?q=solution" title=" solution"> solution</a> </p> <a href="https://publications.waset.org/abstracts/125087/immediate-geometric-solution-of-irregular-quadrilaterals-a-digital-tool-applied-to-topography" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/125087.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">147</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">11865</span> Conventional and Computational Investigation of the Synthesized Organotin(IV) Complexes Derived from o-Vanillin and 3-Nitro-o-Phenylenediamine</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Harminder%20Kaur">Harminder Kaur</a>, <a href="https://publications.waset.org/abstracts/search?q=Manpreet%20Kaur"> Manpreet Kaur</a>, <a href="https://publications.waset.org/abstracts/search?q=Akanksha%20Kapila"> Akanksha Kapila</a>, <a href="https://publications.waset.org/abstracts/search?q=Reenu"> Reenu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Schiff base with general formula H₂L was derived from condensation of o-vanillin and 3-nitro-o-phenylenediamine. This Schiff base was used for the synthesis of organotin(IV) complexes with general formula R₂SnL [R=Phenyl or n-octyl] using equimolar quantities. Elemental analysis UV-Vis, FTIR, and multinuclear spectroscopic techniques (¹H, ¹³C, and ¹¹⁹Sn) NMR were carried out for the characterization of the synthesized complexes. These complexes were coloured and soluble in polar solvents. Computational studies have been performed to obtain the details of the geometry and electronic structures of ligand as well as complexes. Geometry of the ligands and complexes have been optimized at the level of Density Functional Theory with B3LYP/6-311G (d,p) and B3LYP/MPW1PW91 respectively followed by vibrational frequency analysis using Gaussian 09. Observed ¹¹⁹Sn NMR chemical shifts of one of the synthesized complexes showed tetrahedral geometry around Tin atom which is also confirmed by DFT. HOMO-LUMO energy distribution was calculated. FTIR, ¹HNMR and ¹³CNMR spectra were also obtained theoretically using DFT. Further IRC calculations were employed to determine the transition state for the reaction and to get the theoretical information about the reaction pathway. Moreover, molecular docking studies can be explored to ensure the anticancer activity of the newly synthesized organotin(IV) complexes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=DFT" title="DFT">DFT</a>, <a href="https://publications.waset.org/abstracts/search?q=molecular%20docking" title=" molecular docking"> molecular docking</a>, <a href="https://publications.waset.org/abstracts/search?q=organotin%28IV%29%20complexes" title=" organotin(IV) complexes"> organotin(IV) complexes</a>, <a href="https://publications.waset.org/abstracts/search?q=o-vanillin" title=" o-vanillin"> o-vanillin</a>, <a href="https://publications.waset.org/abstracts/search?q=3-nitro-o-phenylenediamine" title=" 3-nitro-o-phenylenediamine"> 3-nitro-o-phenylenediamine</a> </p> <a href="https://publications.waset.org/abstracts/89192/conventional-and-computational-investigation-of-the-synthesized-organotiniv-complexes-derived-from-o-vanillin-and-3-nitro-o-phenylenediamine" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/89192.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">160</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">11864</span> Aspects and Studies of Fractal Geometry in Automatic Breast Cancer Detection</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mrinal%20Kanti%20Bhowmik">Mrinal Kanti Bhowmik</a>, <a href="https://publications.waset.org/abstracts/search?q=Kakali%20Das%20Jr."> Kakali Das Jr.</a>, <a href="https://publications.waset.org/abstracts/search?q=Barin%20Kumar%20De"> Barin Kumar De</a>, <a href="https://publications.waset.org/abstracts/search?q=Debotosh%20Bhattacharjee"> Debotosh Bhattacharjee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Breast cancer is the most common cancer and a leading cause of death for women in the 35 to 55 age group. Early detection of breast cancer can decrease the mortality rate of breast cancer. Mammography is considered as a ‘Gold Standard’ for breast cancer detection and a very popular modality, presently used for breast cancer screening and detection. The screening of digital mammograms often leads to over diagnosis and a consequence to unnecessary traumatic & painful biopsies. For that reason recent studies involving the use of thermal imaging as a screening technique have generated a growing interest especially in cases where the mammography is limited, as in young patients who have dense breast tissue. Tumor is a significant sign of breast cancer in both mammography and thermography. The tumors are complex in structure and they also exhibit a different statistical and textural features compared to the breast background tissue. Fractal geometry is a geometry which is used to describe this type of complex structure as per their main characteristic, where traditional Euclidean geometry fails. Over the last few years, fractal geometrics have been applied mostly in many medical image (1D, 2D, or 3D) analysis applications. In breast cancer detection using digital mammogram images, also it plays a significant role. Fractal is also used in thermography for early detection of the masses using the thermal texture. This paper presents an overview of the recent aspects and initiatives of fractals in breast cancer detection in both mammography and thermography. The scope of fractal geometry in automatic breast cancer detection using digital mammogram and thermogram images are analysed, which forms a foundation for further study on application of fractal geometry in medical imaging for improving the efficiency of automatic detection. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fractal" title="fractal">fractal</a>, <a href="https://publications.waset.org/abstracts/search?q=tumor" title=" tumor"> tumor</a>, <a href="https://publications.waset.org/abstracts/search?q=thermography" title=" thermography"> thermography</a>, <a href="https://publications.waset.org/abstracts/search?q=mammography" title=" mammography"> mammography</a> </p> <a href="https://publications.waset.org/abstracts/22188/aspects-and-studies-of-fractal-geometry-in-automatic-breast-cancer-detection" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22188.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">388</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">11863</span> Experimental Investigation of Plane Jets Exiting Five Parallel Channels with Large Aspect Ratio</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Laurentiu%20Moruz">Laurentiu Moruz</a>, <a href="https://publications.waset.org/abstracts/search?q=Jens%20Kitzhofer"> Jens Kitzhofer</a>, <a href="https://publications.waset.org/abstracts/search?q=Mircea%20Dinulescu"> Mircea Dinulescu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper aims to extend the knowledge about jet behavior and jet interaction between five plane unventilated jets with large aspect ratio (AR). The distance between the single plane jets is two times the channel height. The experimental investigation applies 2D Particle Image Velocimetry (PIV) and static pressure measurements. Our study focuses on the influence of two different outlet nozzle geometries (triangular shape with 2 x 7.5° and blunt geometry) with respect to variation of Reynolds number from 5500 - 12000. It is shown that the outlet geometry has a major influence on the jet formation in terms of uniformity of velocity profiles downstream of the sudden expansion. Furthermore, we describe characteristic regions like converging region, merging region and combined region. The triangular outlet geometry generates most uniform velocity distributions in comparison to a blunt outlet nozzle geometry. The blunt outlet geometry shows an unstable behavior where the jets tend to attach to one side of the walls (ceiling) generating a large recirculation region on the opposite side. Static pressure measurements confirm the observation and indicate that the recirculation region is connected to larger pressure drop. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=2D%20particle%20image%20velocimetry" title="2D particle image velocimetry">2D particle image velocimetry</a>, <a href="https://publications.waset.org/abstracts/search?q=parallel%20jet%20interaction" title=" parallel jet interaction"> parallel jet interaction</a>, <a href="https://publications.waset.org/abstracts/search?q=pressure%20drop" title=" pressure drop"> pressure drop</a>, <a href="https://publications.waset.org/abstracts/search?q=sudden%20expansion" title=" sudden expansion"> sudden expansion</a> </p> <a href="https://publications.waset.org/abstracts/68324/experimental-investigation-of-plane-jets-exiting-five-parallel-channels-with-large-aspect-ratio" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/68324.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">276</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">11862</span> Sergei Prokofiev and Ukraine: The Influence of the Ukrainian Musical Tradition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Khrystyna%20Zai">Khrystyna Zai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research delves into the profound impact of Ukrainian musical traditions on the life and works of the renowned composer Sergei Prokofiev. Sergei Prokofiev's formative years in Ukraine, particularly in Sontsivka(Eastern Ukraine), allowed him to immerse himself in the local music. He encountered Ukrainian folk songs and dances, which left an indelible mark on his musical sensibilities. With a focus on the early 20th century, a period of significant cultural transformation in both Ukraine and Europe, this study examines how Prokofiev's exposure to Ukrainian folk music, its melodic motifs, and rhythmic patterns influenced his compositions. Prokofiev’s works showcase his deliberate efforts to fuse Ukrainian elements with his distinctive modernist style. This study analyzes Prokofiev's engagement with Ukrainian themes in his music, such as the "Semen Kotko”, “The Love of Three Oranges”, “On the Dnieper”, “Scythian Suite”, “Sinfonia Concertante" for cello and orchestra, "Sonata No. 9,", “Partisans in the steppes of Ukraine” (where Prokofiev uses texts in Ukrainian). The scientific work mentions his interactions and collaborations with Ukrainian musicians and cultural figures during Prokofiev’s career. Notably, his association with Ukrainian pianist Sviatoslav Richter and conductor Kirill Karabits led to interpretations of his compositions with a Ukrainian perspective. This research illuminates the nuances of cross-cultural influences in Prokofiev's oeuvre, contributing to a deeper understanding of the interplay between national identities and artistic expression during a pivotal period in history, based on the fact that the composer himself considered Ukraine to be his homeland, calling himself “steppe boy”. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=florida%20atlantic%20university" title="florida atlantic university">florida atlantic university</a>, <a href="https://publications.waset.org/abstracts/search?q=ukrainian%20music" title=" ukrainian music"> ukrainian music</a>, <a href="https://publications.waset.org/abstracts/search?q=ukrainian%20composer" title=" ukrainian composer"> ukrainian composer</a>, <a href="https://publications.waset.org/abstracts/search?q=sergei%20prokofiev" title=" sergei prokofiev"> sergei prokofiev</a> </p> <a href="https://publications.waset.org/abstracts/173426/sergei-prokofiev-and-ukraine-the-influence-of-the-ukrainian-musical-tradition" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173426.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">62</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">11861</span> The Educational, Social and Cultural Significance of Boys Choirs</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Johannes%20Van%20Der%20Sandt">Johannes Van Der Sandt</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Worldwide, there are many boys choirs, but the Drakensberg Boys Choir is one of only a few of its kind: selected from a residential boys choir school using choral music as a significant vehicle for holistic education. With ongoing debates as to whether single-gender education is advantageous for boys, and research on the missing males in choirs problem, this presentation‘s purpose is to explore the perceived benefits and values for boys singing in the world-renowned Drakensberg Boys Choir, and to establish educational grounds for the existence of boys choirs. Semi-structured questionnaires were given to choristers, known as Drakies, to ascertain their perceptions of their choir membership. Their experiences are noted in terms of musical, social and behavioral skills gained. The main emerging themes in each category are discussed in order to lay claim to the assumption that boys choirs exist not only to entertain, and nor are their goals purely musical or pedagogical, but that they can be regarded as unique, cultural artifacts that aid boys‘ development into well-equipped and well-rounded young men. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=boys" title="boys">boys</a>, <a href="https://publications.waset.org/abstracts/search?q=choirs" title=" choirs"> choirs</a>, <a href="https://publications.waset.org/abstracts/search?q=choral" title=" choral"> choral</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=skills" title=" skills"> skills</a>, <a href="https://publications.waset.org/abstracts/search?q=values" title=" values"> values</a> </p> <a href="https://publications.waset.org/abstracts/60290/the-educational-social-and-cultural-significance-of-boys-choirs" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60290.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">200</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">11860</span> I Feel Pretty: Using Discretization to Unpack Gender Disparity in Musical Theatre - A Study of Leonard Bernstein’s West Side Story</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Erin%20McKellar">Erin McKellar</a>, <a href="https://publications.waset.org/abstracts/search?q=Narelle%20Yeo"> Narelle Yeo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Gender disparity can be found in the representation of the female characters in Leonard Bernstein’s musical West Side Story. As a postmodern composer, Bernstein was open about his social activism, yet did not consider his compositional portrayal of female characters as part of that activism. Using discretization as an analysis tool, this thesis explores the melodic contours of male and female songs in West Side Story to show differences in complexity between male and female characterisation. The analysis explores the intervallic relationship between the vocal line and melodic color in relation to the accompaniment harmony, taking into consideration the use of consonance and dissonance. West Side Story is commonly known for its distinct use of the tritone motif and its inherent dissonance. It is evident when reviewing the findings of this study that there is a distinct disparity between male-led and female-led music. The male-led numbers consistently adhere to a dissonant aesthetic with the tritone motif implemented in all of the extracted songs. By contrast, the female songs remain consonant with simple intervallic movements. By examining the results of this study through the lens of Equality Feminism, this thesis finds that Bernstein has simplified the characterisations of the female leads. The thesis further proposes that without cognisant consideration of the compositional portrayal of women, the musical theatre will continue to reinforce gender stereotypes, as evident through this study of Bernstein’s West Side Story. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20theatre" title="music theatre">music theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20bias" title=" gender bias"> gender bias</a>, <a href="https://publications.waset.org/abstracts/search?q=composition" title=" composition"> composition</a>, <a href="https://publications.waset.org/abstracts/search?q=Leonard%20Bernstein" title=" Leonard Bernstein"> Leonard Bernstein</a> </p> <a href="https://publications.waset.org/abstracts/144878/i-feel-pretty-using-discretization-to-unpack-gender-disparity-in-musical-theatre-a-study-of-leonard-bernsteins-west-side-story" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/144878.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">161</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11859</span> Music Tourism for Identity and Cultural Communication in Qualitative Analysis with MAXQDA</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yixuan%20Peng">Yixuan Peng</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music tourism is the phenomenon of people visiting a place because of their association with music, as well as the process of creating an emotional attachment to a place through the connection between people and music. Music offers people the opportunity to immerse themselves in the local culture. Music tourism is increasingly recognized as an industry with economic and social impacts. People often come together for a common purpose of music at a certain time and place, such as concert, opera, or music workshop. This is very similar to the act of pilgrimage: the process of participation evokes strong emotions; it takes time and money to get to the destination; the gathering, and the emotional co-frequency. This study conducted further qualitative research using MAXQDA by applying the musical topophilia model with East Asians as interview subjects. There are three steps to traveling: before, during and after the trip. To date, 53 individuals living in East Asia have been interviewed one-on-one (online/offline) about their travel experiences. This part of the interview is limited to the two stages that are before and after travel. Based on the results of the interviews above, and as Europe has the most representative music industry and the richest variety of music genres. The " during the trip" phase of the observations and interviews were conducted in Europe and involved on-site music in Salzburg and London, including musical theater, street music, and musical pilgrimages. Interviews with 24 people were conducted in English, Chinese and Japanese. This study will use data to demonstrate the followings: the irreplaceability of music in faraway places; the identity and sense of belonging that music brings; the ethnic barriers that music crosses; and the cultural communication that music enables. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=belongingness" title="belongingness">belongingness</a>, <a href="https://publications.waset.org/abstracts/search?q=gathering" title=" gathering"> gathering</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20pilgrimage" title=" modern pilgrimage"> modern pilgrimage</a>, <a href="https://publications.waset.org/abstracts/search?q=anthropology%20of%20music" title=" anthropology of music"> anthropology of music</a>, <a href="https://publications.waset.org/abstracts/search?q=sociology%20of%20music" title=" sociology of music"> sociology of music</a> </p> <a href="https://publications.waset.org/abstracts/174134/music-tourism-for-identity-and-cultural-communication-in-qualitative-analysis-with-maxqda" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174134.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">11858</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 href="https://publications.waset.org/abstracts/90101/musical-diversity-the-differences-between-public-and-private-kindergartens-in-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/90101.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">221</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">11857</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">11856</span> Effectiveness of Column Geometry in High-Rise Buildings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Man%20Singh%20Meena">Man Singh Meena</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Structural engineers are facing different kind of challenges due to innovative & bold ideas of architects who are trying to design every structure with uniqueness. In RCC frame structures different geometry of columns can be used in design and rectangular columns can be placed with different type orientation. The analysis is design of structures can also be carried out by different type of software available i.e., STAAD Pro, ETABS and TEKLA. In recent times high-rise building modeling & analysis is done by ETABS due to its certain features which are superior to other software. The case study in this paper mainly emphasizes on structural behavior of high rise building for different column shape configurations like Circular, Square, Rectangular and Rectangular with 90-degree Rotation and rectangular shape plan. In all these column shapes the areas of columns are kept same to study the effect on design of concrete area is same. Modelling of 20-storeys R.C.C. framed building is done on the ETABS software for analysis. Post analysis of the structure, maximum bending moments, shear forces and maximum longitudinal reinforcement are computed and compared for three different story structures to identify the effectiveness of geometry of column. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=high-rise%20building" title="high-rise building">high-rise building</a>, <a href="https://publications.waset.org/abstracts/search?q=column%20geometry" title=" column geometry"> column geometry</a>, <a href="https://publications.waset.org/abstracts/search?q=building%20modelling" title=" building modelling"> building modelling</a>, <a href="https://publications.waset.org/abstracts/search?q=ETABS%20analysis" title=" ETABS analysis"> ETABS analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=building%20design" title=" building design"> building design</a>, <a href="https://publications.waset.org/abstracts/search?q=structural%20analysis" title=" structural analysis"> structural analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=structural%20optimization" title=" structural optimization"> structural optimization</a> </p> <a href="https://publications.waset.org/abstracts/177789/effectiveness-of-column-geometry-in-high-rise-buildings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/177789.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">11855</span> Mechanism Design and Dynamic Analysis of Active Independent Front Steering System</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cheng-Chi%20Yu">Cheng-Chi Yu</a>, <a href="https://publications.waset.org/abstracts/search?q=Yu-Shiue%20Wang"> Yu-Shiue Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Kei-Lin%20Kuo"> Kei-Lin Kuo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Active Independent Front Steering system is a steering system which can according to vehicle driving situation adjusts the relation of steering angle between inner wheel and outer wheel. In low-speed cornering, AIFS sets the steering angles of inner and outer wheel into Ackerman steering geometry to make vehicle has less cornering radius. Besides, AIFS changes the steering geometry to parallel or even anti-Ackerman steering geometry to keep vehicle stability in high-speed cornering. Therefore, based on the analysis of the vehicle steering behavior from different steering geometries, this study develops a new screw type of active independent front steering system to make vehicles best cornering performance at any speeds. The screw type of active independent front steering system keeps the pinion and separates the rack into main rack and second rack. Two racks connect by a screw. Extra screw rotated motion powered by assistant motor through coupler makes second rack move relative to main rack, which can adjust both steering ratio and steering geometry. First of all, this study distinguishes the steering geometry by using Ackerman percentage and utilizes the software of ADAMS/Car to construct diverse steering geometry models. The different steering geometries are compared at low-speed and high-speed cornering, and then control strategies of the active independent front steering systems could be formulated. Secondly, this study applies closed loop equation to analyze tire steering angles and carries out optimization calculations to make the steering geometry from traditional rack and pinion steering system near to Ackerman steering geometry. Steering characteristics of the optimum steering mechanism and motion characteristics of vehicle installed the steering mechanism are verified by ADAMS/Car models of front suspension and full vehicle respectively. By adding dual auxiliary rack and dual motor to the optimum steering mechanism, the active independent front steering system could be developed to achieve the functions of variable steering ratio and variable steering geometry. At last, this study uses ADAMS/Car and Matlab/Simulink to co-simulate the cornering motion of vehicles confirms the vehicle installed the Active Independent Front Steering (AIFS) system has better handling performance than that with Active Independent Steering (AFS) system or with Electric Power Steering (EPS) system. At low-speed cornering, the vehicles with AIFS system and with AFS system have better maneuverability, less cornering radius, than the traditional vehicle with EPS system because that AIFS and AFS systems both provide function of variable steering ratio. However, there is a slight penalty in the motor(s) power consumption. In addition, because of the capability of variable steering geometry, the vehicle with AIFS system has better high-speed cornering stability, trajectory keeping, and even less motor(s) power consumption than that with EPS system and also with AFS system. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=active%20front%20steering%20system" title="active front steering system">active front steering system</a>, <a href="https://publications.waset.org/abstracts/search?q=active%20independent%20front%20steering%20system" title=" active independent front steering system"> active independent front steering system</a>, <a href="https://publications.waset.org/abstracts/search?q=steering%20geometry" title=" steering geometry"> steering geometry</a>, <a href="https://publications.waset.org/abstracts/search?q=steering%20ratio" title=" steering ratio"> steering ratio</a> </p> <a href="https://publications.waset.org/abstracts/77238/mechanism-design-and-dynamic-analysis-of-active-independent-front-steering-system" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/77238.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">189</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">11854</span> Interactive Winding Geometry Design of Power Transformers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Paffrath%20Meinhard">Paffrath Meinhard</a>, <a href="https://publications.waset.org/abstracts/search?q=Zhou%20Yayun"> Zhou Yayun</a>, <a href="https://publications.waset.org/abstracts/search?q=Guo%20Yiqing"> Guo Yiqing</a>, <a href="https://publications.waset.org/abstracts/search?q=Ertl%20Harald"> Ertl Harald</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Winding geometry design is an important part of power transformer electrical design. Conventionally, the winding geometry is designed manually, which is a time-consuming job because it involves many iteration steps in order to meet all cost, manufacturing and electrical requirements. Here a method is presented which automatically generates the winding geometry for given user parameters and allows the user to interactively set and change parameters. To achieve this goal, the winding problem is transferred to a mixed integer nonlinear optimization problem. The relevant geometrical design parameters are defined as optimization variables. The cost and other requirements are modeled as constraints. For the solution, a stochastic ant colony optimization algorithm is applied. It is well-known, that an optimizer can get stuck in a local minimum. For the winding problem, we present efficient strategies to come out of local minima, furthermore a reduced variable search range helps to accelerate the solution process. Numerical examples show that the optimization result is delivered within seconds such that the user can interactively change the variable search area and constraints to improve the design. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ant%20colony%20optimization" title="ant colony optimization">ant colony optimization</a>, <a href="https://publications.waset.org/abstracts/search?q=mixed%20integer%20nonlinear%20programming" title=" mixed integer nonlinear programming"> mixed integer nonlinear programming</a>, <a href="https://publications.waset.org/abstracts/search?q=power%20transformer" title=" power transformer"> power transformer</a>, <a href="https://publications.waset.org/abstracts/search?q=winding%20design" title=" winding design"> winding design</a> </p> <a href="https://publications.waset.org/abstracts/74700/interactive-winding-geometry-design-of-power-transformers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/74700.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">380</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">11853</span> A Game-Based Product Modelling Environment for Non-Engineer</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Guolong%20Zhong">Guolong Zhong</a>, <a href="https://publications.waset.org/abstracts/search?q=Venkatesh%20Chennam%20Vijay"> Venkatesh Chennam Vijay</a>, <a href="https://publications.waset.org/abstracts/search?q=Ilias%20Oraifige"> Ilias Oraifige</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the last 20 years, Knowledge Based Engineering (KBE) has shown its advantages in product development in different engineering areas such as automation, mechanical, civil and aerospace engineering in terms of digital design automation and cost reduction by automating repetitive design tasks through capturing, integrating, utilising and reusing the existing knowledge required in various aspects of the product design. However, in primary design stages, the descriptive information of a product is discrete and unorganized while knowledge is in various forms instead of pure data. Thus, it is crucial to have an integrated product model which can represent the entire product information and its associated knowledge at the beginning of the product design. One of the shortcomings of the existing product models is a lack of required knowledge representation in various aspects of product design and its mapping to an interoperable schema. To overcome the limitation of the existing product model and methodologies, two key factors are considered. First, the product model must have well-defined classes that can represent the entire product information and its associated knowledge. Second, the product model needs to be represented in an interoperable schema to ensure a steady data exchange between different product modelling platforms and CAD software. This paper introduced a method to provide a general product model as a generative representation of a product, which consists of the geometry information and non-geometry information, through a product modelling framework. The proposed method for capturing the knowledge from the designers through a knowledge file provides a simple and efficient way of collecting and transferring knowledge. Further, the knowledge schema provides a clear view and format on the data that needed to be gathered in order to achieve a unified knowledge exchange between different platforms. This study used a game-based platform to make product modelling environment accessible for non-engineers. Further the paper goes on to test use case based on the proposed game-based product modelling environment to validate the effectiveness among non-engineers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=game-based%20learning" title="game-based learning">game-based learning</a>, <a href="https://publications.waset.org/abstracts/search?q=knowledge%20based%20engineering" title=" knowledge based engineering"> knowledge based engineering</a>, <a href="https://publications.waset.org/abstracts/search?q=product%20modelling" title=" product modelling"> product modelling</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20automation" title=" design automation"> design automation</a> </p> <a href="https://publications.waset.org/abstracts/129823/a-game-based-product-modelling-environment-for-non-engineer" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/129823.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">154</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11852</span> Frankie Adams’s Sexuality in the Member of the Wedding: Focusing on Musical References</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saori%20Iwatsuka">Saori Iwatsuka</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In The Member of the Wedding, Carson McCullers starts with the words, “It happened,” without telling the reader what happens to a twelve-year-old protagonist, Frankie Adams. The reader feels confused and incomprehensible. However, he or she later realizes that the confusing phrase is connected to the scene where Frankie feels “the thing happened” after listening to the melodic lines of jazz and blues. Yet, the reader cannot really comprehend what happens to Frankie and feels puzzled till the end. And the story ends with Frankie’s words, “I am simply mad about . . .” Implying her queer desire for her new friend Mary Littlejohn, McCullers never tells the reader whom Frankie is mad about. Despite McCullers’s ambiguous way of depicting Frankie’s sexuality, recent critics and reviewers have come to discuss her sexuality as anti-heterosexual because Frankie expresses her hatred for Barney, whom she has had some type of sexual encounter, and feels wrong with her brother Jarvis’s wedding. After giving up her sexual desire for Jarvis’s bride, Janice, Frankie changes her name to Frances, becomes engrossed with Michelangelo, and enjoys reading Tennyson’s poetry with Mary. Michelangelo and Tennyson are well-known homosexual artists, which suggests that Frankie has an anti-heterosexual orientation. As McCullers does not precisely describe Frankie’s sexuality, the reader can only assume it by connecting fragmentary descriptions. However, this discussion is more clarified to show Frankie’s sexuality because analyzing the musical references of jazz and blues and interpreting them from a musicological viewpoint will illuminate it. In her works, McCullers frequently uses musical references and descriptions, which have a significant and psychological impact on the protagonists and portrays their bodily reactions to the impact to reveal what the reader cannot see on the surface. Thus, in this story, too, Frankie’s bodily reaction to music is portrayed to cue her feelings. After seeing the chimney swifts, known as monogamous birds, Frankie feels “a jazz sadness,” quivers her nerves and stiffens her heart. After listening to Berenice’s “dark jazz voice,” Frankie feels dizzy and throws a knife because Berenice’s voice jazzes (excites) her heart that beats in her head. Calming herself, she fantasizes that Jarvis, Jarvis’s bride, Janice, and herself are members of “the we of me.” Then in the evening, listening to the blues and jazz being played by a black horn player somewhere in her neighborhood, Frankie realizes “the thing happened” and discovers “a new feeling.” Following the musical references “jazz” and “blues” and examining them from the viewpoint of musicology and terminology leads the reader to explore what “it” is in “it happened” and what her “new feeling” is when “the thing happened” with the blues tune breaking off. Those discussions will illuminate Frankie’s sexuality. As McCullers does not clearly name her sexuality, this paper uses the word queer to express Frankie’s anti-sexual orientation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=jazz%20and%20blues" title="jazz and blues">jazz and blues</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20references" title=" musical references"> musical references</a>, <a href="https://publications.waset.org/abstracts/search?q=queer%20sexuality" title=" queer sexuality"> queer sexuality</a>, <a href="https://publications.waset.org/abstracts/search?q=%E2%80%9Cwe%20of%20me%E2%80%9D" title=" “we of me”"> “we of me”</a> </p> <a href="https://publications.waset.org/abstracts/172254/frankie-adamss-sexuality-in-the-member-of-the-wedding-focusing-on-musical-references" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172254.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">11851</span> On Bianchi Type Cosmological Models in Lyra’s Geometry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=R.%20K.%20Dubey">R. K. Dubey</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Bianchi type cosmological models have been studied on the basis of Lyra’s geometry. Exact solution has been obtained by considering a time dependent displacement field for constant deceleration parameter and varying cosmological term of the universe. The physical behavior of the different models has been examined for different cases. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bianchi%20type-I%20cosmological%20model" title="Bianchi type-I cosmological model">Bianchi type-I cosmological model</a>, <a href="https://publications.waset.org/abstracts/search?q=variable%20gravitational%20coupling" title=" variable gravitational coupling"> variable gravitational coupling</a>, <a href="https://publications.waset.org/abstracts/search?q=cosmological%20constant%20term" title=" cosmological constant term"> cosmological constant term</a>, <a href="https://publications.waset.org/abstracts/search?q=Lyra%27s%20model" title=" Lyra's model"> Lyra's model</a> </p> <a href="https://publications.waset.org/abstracts/7581/on-bianchi-type-cosmological-models-in-lyras-geometry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7581.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">354</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11850</span> A Numerical Study of Adherend Geometry on the Stress Distribution in Adhesively Lap Joint</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmet%20Calik">Ahmet Calik</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In present study, the effect of adherend geometry on the tensile strength of adhesively single lap aluminum structures joint, bonded was numerically studied using by three dimensional finite element model. Six joint model were investigated. Analyses were performed in ANSYS commercial software. The results shows that the adherends shape has the highest effect on peel and shear stresses. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adhesive" title="adhesive">adhesive</a>, <a href="https://publications.waset.org/abstracts/search?q=adherend" title=" adherend"> adherend</a>, <a href="https://publications.waset.org/abstracts/search?q=single%20lap%20joints" title=" single lap joints"> single lap joints</a>, <a href="https://publications.waset.org/abstracts/search?q=finite%20element" title=" finite element"> finite element</a> </p> <a href="https://publications.waset.org/abstracts/21920/a-numerical-study-of-adherend-geometry-on-the-stress-distribution-in-adhesively-lap-joint" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/21920.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">292</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">11849</span> Design and Burnback Analysis of Three Dimensional Modified Star Grain</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Almostafa%20Abdelaziz">Almostafa Abdelaziz</a>, <a href="https://publications.waset.org/abstracts/search?q=Liang%20Guozhu"> Liang Guozhu</a>, <a href="https://publications.waset.org/abstracts/search?q=Anwer%20Elsayed"> Anwer Elsayed</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The determination of grain geometry is an important and critical step in the design of solid propellant rocket motor. In this study, the design process involved parametric geometry modeling in CAD, MATLAB coding of performance prediction and 2D star grain ignition experiment. The 2D star grain burnback achieved by creating new surface via each web increment and calculating geometrical properties at each step. The 2D star grain is further modified to burn as a tapered 3D star grain. Zero dimensional method used to calculate the internal ballistic performance. Experimental and theoretical results were compared in order to validate the performance prediction of the solid rocket motor. The results show that the usage of 3D grain geometry will decrease the pressure inside the combustion chamber and enhance the volumetric loading ratio. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=burnback%20analysis" title="burnback analysis">burnback analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=rocket%20motor" title=" rocket motor"> rocket motor</a>, <a href="https://publications.waset.org/abstracts/search?q=star%20grain" title=" star grain"> star grain</a>, <a href="https://publications.waset.org/abstracts/search?q=three%20dimensional%20grains" title=" three dimensional grains"> three dimensional grains</a> </p> <a href="https://publications.waset.org/abstracts/82081/design-and-burnback-analysis-of-three-dimensional-modified-star-grain" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82081.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">245</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">11848</span> Using New Machine Algorithms to Classify Iranian Musical Instruments According to Temporal, Spectral and Coefficient Features</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ronak%20Khosravi">Ronak Khosravi</a>, <a href="https://publications.waset.org/abstracts/search?q=Mahmood%20Abbasi%20Layegh"> Mahmood Abbasi Layegh</a>, <a href="https://publications.waset.org/abstracts/search?q=Siamak%20Haghipour"> Siamak Haghipour</a>, <a href="https://publications.waset.org/abstracts/search?q=Avin%20Esmaili"> Avin Esmaili</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, a study on classification of musical woodwind instruments using a small set of features selected from a broad range of extracted ones by the sequential forward selection method was carried out. Firstly, we extract 42 features for each record in the music database of 402 sound files belonging to five different groups of Flutes (end blown and internal duct), Single –reed, Double –reed (exposed and capped), Triple reed and Quadruple reed. Then, the sequential forward selection method is adopted to choose the best feature set in order to achieve very high classification accuracy. Two different classification techniques of support vector machines and relevance vector machines have been tested out and an accuracy of up to 96% can be achieved by using 21 time, frequency and coefficient features and relevance vector machine with the Gaussian kernel function. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=coefficient%20features" title="coefficient features">coefficient features</a>, <a href="https://publications.waset.org/abstracts/search?q=relevance%20vector%20machines" title=" relevance vector machines"> relevance vector machines</a>, <a href="https://publications.waset.org/abstracts/search?q=spectral%20features" title=" spectral features"> spectral features</a>, <a href="https://publications.waset.org/abstracts/search?q=support%20vector%20machines" title=" support vector machines"> support vector machines</a>, <a href="https://publications.waset.org/abstracts/search?q=temporal%20features" title=" temporal features"> temporal features</a> </p> <a href="https://publications.waset.org/abstracts/54321/using-new-machine-algorithms-to-classify-iranian-musical-instruments-according-to-temporal-spectral-and-coefficient-features" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/54321.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">321</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11847</span> The Creative Unfolding of “Reduced Descriptive Structures” in Musical Cognition: Technical and Theoretical Insights Based on the OpenMusic and PWGL Long-Term Feedback</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jacopo%20Baboni%20Schilingi">Jacopo Baboni Schilingi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> We here describe the theoretical and philosophical understanding of a long term use and development of algorithmic computer-based tools applied to music composition. The findings of our research lead us to interrogate some specific processes and systems of communication engaged in the discovery of specific cultural artworks: artistic creation in the sono-musical domain. Our hypothesis is that the patterns of auditory learning cannot be only understood in terms of social transmission but would gain to be questioned in the way they rely on various ranges of acoustic stimuli modes of consciousness and how the different types of memories engaged in the percept-action expressive systems of our cultural communities also relies on these shadowy conscious entities we named “Reduced Descriptive Structures”. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=algorithmic%20sonic%20computation" title="algorithmic sonic computation">algorithmic sonic computation</a>, <a href="https://publications.waset.org/abstracts/search?q=corrected%20and%20self-correcting%20learning%20patterns%20in%20acoustic%20perception" title=" corrected and self-correcting learning patterns in acoustic perception"> corrected and self-correcting learning patterns in acoustic perception</a>, <a href="https://publications.waset.org/abstracts/search?q=morphological%20derivations%20in%20sensorial%20patterns" title=" morphological derivations in sensorial patterns"> morphological derivations in sensorial patterns</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20unconscious%20modes%20of%20communication" title=" social unconscious modes of communication"> social unconscious modes of communication</a> </p> <a href="https://publications.waset.org/abstracts/84603/the-creative-unfolding-of-reduced-descriptive-structures-in-musical-cognition-technical-and-theoretical-insights-based-on-the-openmusic-and-pwgl-long-term-feedback" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/84603.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">154</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11846</span> Using a Card Game as a Tool for Developing a Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Matthias%20Haenisch">Matthias Haenisch</a>, <a href="https://publications.waset.org/abstracts/search?q=Katharina%20Hermann"> Katharina Hermann</a>, <a href="https://publications.waset.org/abstracts/search?q=Marc%20Godau"> Marc Godau</a>, <a href="https://publications.waset.org/abstracts/search?q=Verena%20Weidner"> Verena Weidner</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Over the past two decades, international music education has been characterized by a growing interest in informal learning for formal contexts and a "compositional turn" that has moved from closed to open forms of composing. This change occurs under social and technological conditions that permeate 21st-century musical practices. This forms the background of Musical Communities in the (Post)Digital Age (MusCoDA), a four-year joint research project of the University of Erfurt (UE) and the University of Education Karlsruhe (PHK), funded by the German Federal Ministry of Education and Research (BMBF). Both explore songwriting processes as an example of collective creativity in (post)digital communities, one in formal and the other in informal learning contexts. Collective songwriting will be studied from a network perspective, that will allow us to view boundaries between both online and offline as well as formal and informal or hybrid contexts as permeable and to reconstruct musical learning practices. By comparing these songwriting processes, possibilities for a pedagogical-didactic interweaving of different educational worlds are highlighted. Therefore, the subproject of the University of Erfurt investigates school music lessons with the help of interviews, videography, and network maps by analyzing new digital pedagogical and didactic possibilities. In the first step, the international literature on songwriting in the music classroom was examined for design development. The analysis focused on the question of which methods and practices are circulating in the current literature. Results from this stage of the project form the basis for the first instructional design that will help teachers in planning regular music classes and subsequently reconstruct musical learning practices under these conditions. In analyzing the literature, we noticed certain structural methods and concepts that recur, such as the Building Blocks method and the pre-structuring of the songwriting process. From these findings, we developed a deck of cards that both captures the current state of research and serves as a method for design development. With this deck of cards, both teachers and students themselves can plan their individual songwriting lessons by independently selecting and arranging topic, structure, and action cards. In terms of science communication, music educators' interactions with the card game provide us with essential insights for developing the first design. The overall goal of MusCoDA is to develop an empirical model of collective musical creativity and learning and an instructional design for teaching music in the postdigital age. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=card%20game" title="card game">card game</a>, <a href="https://publications.waset.org/abstracts/search?q=collective%20songwriting" title=" collective songwriting"> collective songwriting</a>, <a href="https://publications.waset.org/abstracts/search?q=community%20of%20practice" title=" community of practice"> community of practice</a>, <a href="https://publications.waset.org/abstracts/search?q=network" title=" network"> network</a>, <a href="https://publications.waset.org/abstracts/search?q=postdigital" title=" postdigital"> postdigital</a> </p> <a href="https://publications.waset.org/abstracts/146534/using-a-card-game-as-a-tool-for-developing-a-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146534.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">64</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11845</span> MusicTherapy for Actors: An Exploratory Study Applied to Students from University Theatre Faculty</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Adriana%20De%20Serio">Adriana De Serio</a>, <a href="https://publications.waset.org/abstracts/search?q=Adrian%20Korek"> Adrian Korek</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Aims: This experiential research work presents a Group-MusicTherapy-Theatre-Plan (MusThePlan) the authors have carried out to support the actors. The MusicTherapy gives rise to individual psychophysical feedback and influences the emotional centres of the brain and the subconsciousness. Therefore, the authors underline the effectiveness of the preventive, educational, and training goals of the MusThePlan to lead theatre students and actors to deal with anxiety and to overcome psychophysical weaknesses, shyness, emotional stress in stage performances, to increase flexibility, awareness of one's identity and resources for a positive self-development and psychophysical health, to develop and strengthen social bonds, increasing a network of subjects working for social inclusion and reduction of stigma. Materials-Methods: Thirty students from the University Theatre Faculty participated in weekly music therapy sessions for two months; each session lasted 120 minutes. MusThePlan: Each session began with a free group rhythmic-sonorous-musical-production by body-percussion, voice-canto, instruments, to stimulate communication. Then, a synchronized-structured bodily-rhythmic-sonorous-musical production also involved acting, dances, movements of hands and arms, hearing, and more sensorial perceptions and speech to balance motor skills and the muscular tone. Each student could be the director-leader of the group indicating a story to inspire the group's musical production. The third step involved the students in rhythmic speech and singing drills and in vocal exercises focusing on the musical pitch to improve the intonation and on the diction to improve the articulation and lead up it to an increased intelligibility. At the end of each musictherapy session and of the two months, the Musictherapy Assessment Document was drawn up by analysis of observation protocols and two Indices by the authors: Patient-Environment-Music-Index (time to - tn) to estimate the behavior evolution, Somatic Pattern Index to monitor subject’s eye and mouth and limb motility, perspiration, before, during and after musictherapy sessions. Results: After the first month, the students (non musicians) learned to play percussion instruments and formed a musical band that played classical/modern music on the percussion instruments with the musictherapist/pianist/conductor in a public concert. At the end of the second month, the students performed a public musical theatre show, acting, dancing, singing, and playing percussion instruments. The students highlighted the importance of the playful aspects of the group musical production in order to achieve emotional contact and harmony within the group. The students said they had improved kinetic and vocal and all the skills useful for acting activity and the nourishment of the bodily and emotional balance. Conclusions: The MusThePlan makes use of some specific MusicTherapy methodological models, techniques, and strategies useful for the actors. The MusThePlan can destroy the individual "mask" and can be useful when the verbal language is unable to undermine the defense mechanisms of the subject. The MusThePlan improves actor’s psychophysical activation, motivation, gratification, knowledge of one's own possibilities, and the quality of life. Therefore, the MusThePlan could be useful to carry out targeted interventions for the actors with characteristics of repeatability, objectivity, and predictability of results. Furthermore, it would be useful to plan a University course/master in “MusicTherapy for the Theatre”. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=musictherapy" title="musictherapy">musictherapy</a>, <a href="https://publications.waset.org/abstracts/search?q=sonorous-musical%20energy" title=" sonorous-musical energy"> sonorous-musical energy</a>, <a href="https://publications.waset.org/abstracts/search?q=quality%20of%20life" title=" quality of life"> quality of life</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a> </p> <a href="https://publications.waset.org/abstracts/176695/musictherapy-for-actors-an-exploratory-study-applied-to-students-from-university-theatre-faculty" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/176695.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 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