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education</title> <meta name="description" content="Search results for: music education"> <meta name="keywords" content="music education"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="music education"> <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> 7720</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: music education</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7570</span> Community Singing, a Pathway to Social Capital: A Cross-Cultural Comparative Assessment of the Benefits of Singing Communities in South Tyrol and South Africa</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> This quantitative study investigates different approaches of community singing, in building social capital in South Tyrol, Italy, and South Africa. The impact of the various approaches of community singing is examined by investigating the main components of social capital, namely, social norms and obligations, social networks and associations and trust, and how these components are manifested in two different societies. The research is based on the premise that community singing is an important agent for the development of social capital. It seeks to establish in what form community singing can best enhance the social capital of communities in South Tyrol that are undergoing significant changes in the ways in which social capital is generally being generated on account of demographic, economic, technological and cultural changes. South Tyrol and South Africa share some similarities in the management of their multi-cultural composition. By comparing the different approaches to community singing in two multi-cultural societies, it is hoped to gain insight, and an understanding of the connections between culture, social cohesion, identity and therefore to be able to add to the understanding of the building of social capital through community singing. Participation in music contributes to the growth of social capital in communities, this is amongst others the finding of an ever increasing amount of research. In sociological discourses on social capital generation, the dimension of community music making is recognized as an important factor. Trust and mutual cooperation are products when people listen to each other, when they work or play together, and when they care about each other. This is how social capital develops as an important shared resource. Scholars of Community Music still do not agree on a short and concise definition for Community Music. For the purpose of this research, the author concurs with the definition of Community Music of the Community Music Activity commission of the International Society of Music Education as having the following characteristics: decentralization, accessibility, equal opportunity, and active participation in music-making. These principles are social and political ones, and there can be no doubt that community music activity is more than a purely musical one. Trust, shared norms and values civic and community involvement, networks, knowledge resources, contact with families and friends, and fellowship are key components in fostering group cohesion and social capital development in a community. The research will show that there is no better place for these factors to flourish than in a community singing group. Through this comparative study, it is the aim to identify, analyze and explain similarities and differences in approaches to community across societies that find themselves in a rapid transition from traditional cultural to global cultural habits characterized by a plurality of orientation points, with the aim to gain a better understanding of the various directions South Tyrolean singing culture can take. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=community%20music" title="community music">community music</a>, <a href="https://publications.waset.org/abstracts/search?q=multicultural" title=" multicultural"> multicultural</a>, <a href="https://publications.waset.org/abstracts/search?q=singing" title=" singing"> singing</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20capital" title=" social capital"> social capital</a> </p> <a href="https://publications.waset.org/abstracts/60289/community-singing-a-pathway-to-social-capital-a-cross-cultural-comparative-assessment-of-the-benefits-of-singing-communities-in-south-tyrol-and-south-africa" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60289.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">283</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">7569</span> The Golden Ratio as a Common ‘Topos’ of Architectural, Musical and Stochastic Research of Iannis Xenakis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nikolaos%20Mamalis">Nikolaos Mamalis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The work of the eminent architect and composer has undoubtedly been influenced both by his architecture and collaboration with Le Corbusier and by the conquests of the musical avant-garde of the 20th century (Schoenberg, Messian, Bartock, electroacoustic music). It is known that the golden mean and the Fibonacci sequence played a momentous role in the Architectural Avant-garde (Modulor) and expanded on musical pursuits. Especially in the 50s (serialism), it was a structural tool for composition. Xenakis' architectural and musical work (Sacrifice, Metastasis, Rebonds, etc.) received the influence of the Golden Section, as has been repeatedly demonstrated. However, the idea of this retrospective sequence and the reflection raised by the search for new proportions, both in the architectural and the musical work of Xenakis, was not limited to constituting a step, a workable formula that acted unifyingly with regard to the other parameters of the musical work, or as an aesthetic model that makes sense - philosophically and poetically - an anthropocentric dimension as in other composers (see Luigi Nono) ̇ triggered a qualitative leap, an opening of the composer to the assimilation of mathematical concepts and scientific types in music and the consolidation of new sound horizons of stochastic music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=golden%20ratio" title="golden ratio">golden ratio</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=space" title=" space"> space</a>, <a href="https://publications.waset.org/abstracts/search?q=stochastic%20music" title=" stochastic music"> stochastic music</a> </p> <a href="https://publications.waset.org/abstracts/183112/the-golden-ratio-as-a-common-topos-of-architectural-musical-and-stochastic-research-of-iannis-xenakis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/183112.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">52</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7568</span> Understanding Music through the Framework of Feminist Confessional Literary Criticism: Heightening Audience Identification and Prioritising the Female Voice</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Katharine%20Pollock">Katharine Pollock</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Feminist scholars assert that a defining aspect of feminist confessional literature is that it expresses both an individual and communal identity, one which is predicated on the commonly-shared aspects of female experience. Reading feminist confessional literature in this way accommodates a plurality of readerly experiences and textual interpretations. It affirms the individual whilst acknowledging those experiences which bind women together, and refuses traditional objective criticism. It invites readers to see themselves reflected in the text, and encourages them to share their own stories. Similarly, music which communicates women’s personal experience, fictive or not, expresses a dual identity. There is an inherent risk of imposing a confessional reading upon a musical or literary text. Understanding music as being multivocal in the same way as confessional literature negates this patriarchal tendency, and allows listeners to engage with both the subjective and collective aspects of a text. By hearing their own stories reflected in the music, listeners engage in an ongoing dialogic process in which female stories are prioritised. This refuses patriarchal silencing and ensures a diversity of female voices. To demonstrate the veracity of these claims, literary criticism is applied to Lily Allen’s music, and memoir My Thoughts Exactly. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=confession" title="confession">confession</a>, <a href="https://publications.waset.org/abstracts/search?q=female" title=" female"> female</a>, <a href="https://publications.waset.org/abstracts/search?q=feminist" title=" feminist"> feminist</a>, <a href="https://publications.waset.org/abstracts/search?q=literature" title=" literature"> literature</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a> </p> <a href="https://publications.waset.org/abstracts/122290/understanding-music-through-the-framework-of-feminist-confessional-literary-criticism-heightening-audience-identification-and-prioritising-the-female-voice" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/122290.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">7567</span> Challenging the Standard 24 Equal Quarter Tones Theory in Arab Music: A Case Study of Tetrachords Bayyātī and ḤIjāz</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nabil%20Shair">Nabil Shair</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Arab music maqām (Arab modal framework) is founded, among other main characteristics, on microtonal intervals. Notwithstanding the importance and multifaceted nature of intonation in Arab music, there is a paucity of studies examining this subject based on scientific and quantitative approaches. The present-day theory concerning the Arab tone system is largely based on the pioneering treatise of Mīkhā’īl Mashāqah (1840), which proposes the theoretical division of the octave into 24 equal quarter tones. This kind of equal-tempered division is incompatible with the performance practice of Arab music, as many professional Arab musicians conceptualize additional pitches beyond the standard 24 notes per octave. In this paper, we refute the standard theory presenting the scale of well-tempered quarter tones by implementing a quantitative analysis of the performed intonation of two prominent tetrachords in Arab music, namely bayyātī and ḥijāz. This analysis was conducted with the help of advanced computer programs, such as Sonic Visualiser and Tony, by which we were able to obtain precise frequency data (Hz) of each tone every 0.01 second. As a result, the value (in cents) of all three intervals of each tetrachord was measured and accordingly compared to the theoretical intervals. As a result, a specific distribution of a range of deviation from the equal-tempered division of the octave was detected, especially the detection of a diminished first interval of bayyātí and diminished second interval of ḥijāz. These types of intonation entail a considerable amount of flexibility, mainly influenced by surrounding tones, direction and function of the measured tone, ornaments, text, personal style of the performer and interaction with the audience. This paper seeks to contribute to the existing literature dealing with intonation in Arab music, as it is a vital part of the performance practice of this musical tradition. In addition, the insights offered by this paper and its novel methodology might also contribute to the broadening of the existing pedagogic methods used to teach Arab music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arab%20music" title="Arab music">Arab music</a>, <a href="https://publications.waset.org/abstracts/search?q=intonation" title=" intonation"> intonation</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20practice" title=" performance practice"> performance practice</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20theory" title=" music theory"> music theory</a>, <a href="https://publications.waset.org/abstracts/search?q=oral%20music" title=" oral music"> oral music</a>, <a href="https://publications.waset.org/abstracts/search?q=octave%20division" title=" octave division"> octave division</a>, <a href="https://publications.waset.org/abstracts/search?q=tetrachords" title=" tetrachords"> tetrachords</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20of%20the%20middle%20east" title=" music of the middle east"> music of the middle east</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20history" title=" music history"> music history</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20intervals" title=" musical intervals"> musical intervals</a> </p> <a href="https://publications.waset.org/abstracts/183271/challenging-the-standard-24-equal-quarter-tones-theory-in-arab-music-a-case-study-of-tetrachords-bayyati-and-ijaz" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/183271.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">53</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">7566</span> Deficits in Perceptual and Musical Memory in Individuals with Major Depressive Disorder</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Toledo-Fernandez%20Aldebaran">Toledo-Fernandez Aldebaran</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: One of the least explored cognitive functions in relation with depression is the one related to musical stimuli. Music perception and memory can become impaired as well. The term amusia is used to define a type of agnosia caused by damage to basic processes that creates a general inability to perceive music. Therefore, the main objective is to explore performance-based and self-report deficits in music perception and memory on people with major depressive disorder (MDD). Method: Data was collected through April-October 2021 recruiting people who met the eligibility criteria and using the Montreal Battery of Evaluation of Amusia (MBEA) to evaluate performance-based music perception and memory, along with the module for depression of the Mini International Neuropsychiatric Interview, and the Amusic Dysfunction Inventory (ADI) which evaluates the participants’ self-report concerning their abilities in music perception. Results: 64 participants were evaluated. The main study, referring to analyzing the differences between people with MDD and the control group, only showed one statistical difference on the Interval subtest of the MBEA. No difference was found in the dimensions assessed by the ADI. Conclusion: Deficits in interval perception can be explained by mental fatigue, to which people with depression are more vulnerable, rather than by specific deficits in musical perception and memory associated with depressive disorder. Additionally, significant associations were found between musical deficits as observed by performance-based evidence and music dysfunction according to self-report, which could suggest that some people with depression are capable of detecting these deficits in themselves. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=depression" title="depression">depression</a>, <a href="https://publications.waset.org/abstracts/search?q=amusia" title=" amusia"> amusia</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=perception" title=" perception"> perception</a>, <a href="https://publications.waset.org/abstracts/search?q=memory" title=" memory"> memory</a> </p> <a href="https://publications.waset.org/abstracts/170811/deficits-in-perceptual-and-musical-memory-in-individuals-with-major-depressive-disorder" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170811.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">7565</span> The Phenomenology in the Music of Debussy through Inspiration of Western and Oriental Culture</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yu-Shun%20Elisa%20Pong">Yu-Shun Elisa Pong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music aesthetics related to phenomenology is rarely discussed and still in the ascendant while multi-dimensional discourses of philosophy were emerged to be an important trend in the 20th century. In the present study, a basic theory of phenomenology from Edmund Husserl (1859-1938) is revealed and discussed followed by the introduction of intentionality concepts, eidetic reduction, horizon, world, and inter-subjectivity issues. Further, phenomenology of music and general art was brought to attention by the introduction of Roman Ingarden’s The Work of Music and the Problems of its Identity (1933) and Mikel Dufrenne’s The Phenomenology of Aesthetic Experience (1953). Finally, Debussy’s music will be analyzed and discussed from the perspective of phenomenology. Phenomenology is not so much a methodology or analytics rather than a common belief. That is, as much as possible to describe in detail the different human experience, relative to the object of purpose. Such idea has been practiced in various guises for centuries, only till the early 20th century Phenomenology was better refined through the works of Husserl, Heidegger, Sartre, Merleau-Ponty and others. Debussy was born in an age when the Western society began to accept the multi-cultural baptism. With his unusual sensitivity to the oriental culture, Debussy has presented considerable inspiration, absorption, and echo in his music works. In fact, his relationship with nature is far from echoing the idea of Chinese ancient literati and nature. Although he is not the first composer to associate music with human and nature, the unique quality and impact of his works enable him to become a significant figure in music aesthetics. Debussy’s music tried to develop a quality analogous of nature, and more importantly, based on vivid life experience and artistic transformation to achieve the realm of pure art. Such idea that life experience comes before artwork, either clear or vague, simple or complex, was later presented abstractly in his late works is still an interesting subject worth further discussion. Debussy’s music has existed for more than or close to a century. It has received musicology researcher’s attention as much as other important works in the history of Western music. Among the pluralistic discussion about Debussy’s art and ideas, phenomenological aesthetics has enlightened new ideas and view angles to relook his great works and even gave some previous arguments legitimacy. Overall, this article provides a new insight of Debussy’s music from phenomenological exploration and it is believed phenomenology would be an important pathway in the research of the music aesthetics. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Debussy%27s%20music" title="Debussy's music">Debussy's music</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20esthetics" title=" music esthetics"> music esthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=oriental%20culture" title=" oriental culture"> oriental culture</a>, <a href="https://publications.waset.org/abstracts/search?q=phenomenology" title=" phenomenology"> phenomenology</a> </p> <a href="https://publications.waset.org/abstracts/78725/the-phenomenology-in-the-music-of-debussy-through-inspiration-of-western-and-oriental-culture" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/78725.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">275</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">7564</span> Music Reading Expertise Facilitates Implicit Statistical Learning of Sentence Structures in a Novel Language: Evidence from Eye Movement Behavior</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sara%20T.%20K.%20Li">Sara T. K. Li</a>, <a href="https://publications.waset.org/abstracts/search?q=Belinda%20H.%20J.%20Chung"> Belinda H. J. Chung</a>, <a href="https://publications.waset.org/abstracts/search?q=Jeffery%20C.%20N.%20Yip"> Jeffery C. N. Yip</a>, <a href="https://publications.waset.org/abstracts/search?q=Janet%20H.%20Hsiao"> Janet H. Hsiao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music notation and text reading both involve statistical learning of music or linguistic structures. However, it remains unclear how music reading expertise influences text reading behavior. The present study examined this issue through an eye-tracking study. Chinese-English bilingual musicians and non-musicians read English sentences, Chinese sentences, musical phrases, and sentences in Tibetan, a language novel to the participants, with their eye movement recorded. Each set of stimuli consisted of two conditions in terms of structural regularity: syntactically correct and syntactically incorrect musical phrases/sentences. They then completed a sentence comprehension (for syntactically correct sentences) or a musical segment/word recognition task afterwards to test their comprehension/recognition abilities. The results showed that in reading musical phrases, as compared with non-musicians, musicians had a higher accuracy in the recognition task, and had shorter reading time, fewer fixations, and shorter fixation duration when reading syntactically correct (i.e., in diatonic key) than incorrect (i.e., in non-diatonic key/atonal) musical phrases. This result reflects their expertise in music reading. Interestingly, in reading Tibetan sentences, which was novel to both participant groups, while non-musicians did not show any behavior differences between reading syntactically correct or incorrect Tibetan sentences, musicians showed a shorter reading time and had marginally fewer fixations when reading syntactically correct sentences than syntactically incorrect ones. However, none of the musicians reported discovering any structural regularities in the Tibetan stimuli after the experiment when being asked explicitly, suggesting that they may have implicitly acquired the structural regularities in Tibetan sentences. This group difference was not observed when they read English or Chinese sentences. This result suggests that music reading expertise facilities reading texts in a novel language (i.e., Tibetan), but not in languages that the readers are already familiar with (i.e., English and Chinese). This phenomenon may be due to the similarities between reading music notations and reading texts in a novel language, as in both cases the stimuli follow particular statistical structures but do not involve semantic or lexical processing. Thus, musicians may transfer their statistical learning skills stemmed from music notation reading experience to implicitly discover structures of sentences in a novel language. This speculation is consistent with a recent finding showing that music reading expertise modulates the processing of English nonwords (i.e., words that do not follow morphological or orthographic rules) but not pseudo- or real words. These results suggest that the modulation of music reading expertise on language processing depends on the similarities in the cognitive processes involved. It also has important implications for the benefits of music education on language and cognitive development. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=eye%20movement%20behavior" title="eye movement behavior">eye movement behavior</a>, <a href="https://publications.waset.org/abstracts/search?q=eye-tracking" title=" eye-tracking"> eye-tracking</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20reading%20expertise" title=" music reading expertise"> music reading expertise</a>, <a href="https://publications.waset.org/abstracts/search?q=sentence%20reading" title=" sentence reading"> sentence reading</a>, <a href="https://publications.waset.org/abstracts/search?q=structural%20regularity" title=" structural regularity"> structural regularity</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20processing" title=" visual processing"> visual processing</a> </p> <a href="https://publications.waset.org/abstracts/79124/music-reading-expertise-facilitates-implicit-statistical-learning-of-sentence-structures-in-a-novel-language-evidence-from-eye-movement-behavior" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/79124.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">7563</span> Intercultural Strategies of Chinese Composers in the Organizational Structure of Their Works</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bingqing%20Chen">Bingqing Chen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Opium War unlocked the gate of China. Since then, modern western culture has been imported strongly and spread throughout this Asian country. The monologue of traditional Chinese culture in the past has been replaced by the hustle and bustle of multiculturalism. In the field of music, starting from school music, China, a country without the concept of composition, was deeply influenced by western culture and professional music composition, and entered the era of professional music composition. Recognizing the importance of national culture, a group of insightful artists began to try to add ‘China’ to musical composition. However, due to the special historical origin of Chinese professional musical composition and the three times of cultural nihilism in China, professional musical composition at this time failed to interpret the deep language structure of local culture within Chinese traditional culture, but only regarded Chinese traditional music as a ‘melody material library.’ At this time, the cross-cultural composition still takes Western music as its ‘norm,’ while our own music culture only exists as the sound of the contrast of Western music. However, after reading scores extensively, watching video performances, and interviewing several active composers, we found that at least in the past 30 years, China has created some works that can be called intercultural music. In these kinds of music, composers put Chinese and Western, traditional and modern in an almost equal position to have a dialogue based on their deep understanding and respect for the two cultures. This kind of music connects two music worlds, and links the two cultural and ideological worlds behind it, and communicates and grows together. This paper chose the works of three composers with different educational backgrounds, and pay attention to how composers can make a dialogue at the organizational structure level of their works. Based on the strategies adopted by composers in structuring their works, this paper expounds on how the composer's music procedure shows intercultural in terms of whole sound effects and cultural symbols. By actively participating in this intercultural practice, composers resorting to various musical and extra-musical procedures to arrive at the so-called ‘innovation within tradition.’ Through the dialogue, we can activate the space of creative thinking and explore the potential contained in culture. This interdisciplinary research promotes the rethinking of the possibility of innovation in contemporary Chinese intercultural music composition, spanning the fields of sound studies, dialogue theory, cultural research, music theory, and so on. Recently, China is calling for actively promoting 'the construction of Chinese music canonization,’ expecting to form a particular music style to show national-cultural identity. In the era of globalization, it is possible to form a brand-new Chinese music style through intercultural composition, but it is a question about talents, and the key lies in how composers do it. There is no recipe for the formation of the Chinese music style, only the composers constantly trying and tries to solve problems in their works. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dialogism" title="dialogism">dialogism</a>, <a href="https://publications.waset.org/abstracts/search?q=intercultural%20music" title=" intercultural music"> intercultural music</a>, <a href="https://publications.waset.org/abstracts/search?q=national-cultural%20identity" title=" national-cultural identity"> national-cultural identity</a>, <a href="https://publications.waset.org/abstracts/search?q=organization%2Fstructure" title=" organization/structure"> organization/structure</a>, <a href="https://publications.waset.org/abstracts/search?q=sound" title=" sound"> sound</a> </p> <a href="https://publications.waset.org/abstracts/131682/intercultural-strategies-of-chinese-composers-in-the-organizational-structure-of-their-works" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131682.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">112</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7562</span> Gestalt in Music and Brain: A Non-Linear Chaos Based Study with Detrended/Adaptive Fractal Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shankha%20Sanyal">Shankha Sanyal</a>, <a href="https://publications.waset.org/abstracts/search?q=Archi%20Banerjee"> Archi Banerjee</a>, <a href="https://publications.waset.org/abstracts/search?q=Sayan%20Biswas"> Sayan Biswas</a>, <a href="https://publications.waset.org/abstracts/search?q=Sourya%20Sengupta"> Sourya Sengupta</a>, <a href="https://publications.waset.org/abstracts/search?q=Sayan%20Nag"> Sayan Nag</a>, <a href="https://publications.waset.org/abstracts/search?q=Ranjan%20Sengupta"> Ranjan Sengupta</a>, <a href="https://publications.waset.org/abstracts/search?q=Dipak%20Ghosh"> Dipak Ghosh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The term ‘gestalt’ has been widely used in the field of psychology which defined the perception of human mind to group any object not in part but as a 'unified' whole. Music, in general, is polyphonic - i.e. a combination of a number of pure tones (frequencies) mixed together in a manner that sounds harmonious. The study of human brain response due to different frequency groups of the acoustic signal can give us an excellent insight regarding the neural and functional architecture of brain functions. Hence, the study of music cognition using neuro-biosensors is becoming a rapidly emerging field of research. In this work, we have tried to analyze the effect of different frequency bands of music on the various frequency rhythms of human brain obtained from EEG data. Four widely popular Rabindrasangeet clips were subjected to Wavelet Transform method for extracting five resonant frequency bands from the original music signal. These frequency bands were initially analyzed with Detrended/Adaptive Fractal analysis (DFA/AFA) methods. A listening test was conducted on a pool of 100 respondents to assess the frequency band in which the music becomes non-recognizable. Next, these resonant frequency bands were presented to 20 subjects as auditory stimulus and EEG signals recorded simultaneously in 19 different locations of the brain. The recorded EEG signals were noise cleaned and subjected again to DFA/AFA technique on the alpha, theta and gamma frequency range. Thus, we obtained the scaling exponents from the two methods in alpha, theta and gamma EEG rhythms corresponding to different frequency bands of music. From the analysis of music signal, it is seen that loss of recognition is proportional to the loss of long range correlation in the signal. From the EEG signal analysis, we obtain frequency specific arousal based response in different lobes of brain as well as in specific EEG bands corresponding to musical stimuli. In this way, we look to identify a specific frequency band beyond which the music becomes non-recognizable and below which in spite of the absence of other bands the music is perceivable to the audience. This revelation can be of immense importance when it comes to the field of cognitive music therapy and researchers of creativity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=AFA" title="AFA">AFA</a>, <a href="https://publications.waset.org/abstracts/search?q=DFA" title=" DFA"> DFA</a>, <a href="https://publications.waset.org/abstracts/search?q=EEG" title=" EEG"> EEG</a>, <a href="https://publications.waset.org/abstracts/search?q=gestalt%20in%20music" title=" gestalt in music"> gestalt in music</a>, <a href="https://publications.waset.org/abstracts/search?q=Hurst%20exponent" title=" Hurst exponent"> Hurst exponent</a> </p> <a href="https://publications.waset.org/abstracts/71039/gestalt-in-music-and-brain-a-non-linear-chaos-based-study-with-detrendedadaptive-fractal-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71039.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">332</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7561</span> The Impact of Music on Social Identity Formation and Intergroup Relations in American-Born Korean Skaters in 2018 Winter Olympics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sehwan%20Kim">Sehwan Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Jepkorir%20Rose%20Chepyator%20Thomson"> Jepkorir Rose Chepyator Thomson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music provides opportunities to affirm social identities and facilitate the internalization of one’s identity. The purpose of this study was to examine the role of music in breaking down boundaries between the in-group and out-of-group sport participants. Social identity theory was used to guide an understanding of two American-born South Korean skaters—Yura Min and Alexander Gamelin—who used a Korean representative traditional folk song, Arirang, at the 2018 Winter Olympics. This was an interpretive case study that focused on 2018 Winter Olympic participants whose performance and use of music was understood through the lenses of Koreans. Semi-structured interviews were conducted with 15 Korean audiences who watched two American-born South Korean skaters’ performances. Data analysis involved the determination of themes in the data collected. The findings of this study are as follows: First Koreans viewed the skaters as the out-group based on ethnic appearances and stereotypes. Second, Koreans’ inter-group bias against the skaters was meditated after Koreans watched the skaters as they used Arirang song in performance. Implications for this study include the importance of music as an instrument of unity across diverse populations, including intergroup relations. Music can also offer ways to understand people’s cultures and bridge gaps between age and gender across categories of naturalization. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=impact%20of%20music" title="impact of music">impact of music</a>, <a href="https://publications.waset.org/abstracts/search?q=intergroup%20relations" title=" intergroup relations"> intergroup relations</a>, <a href="https://publications.waset.org/abstracts/search?q=naturalized%20athletes" title=" naturalized athletes"> naturalized athletes</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20identity%20theory" title=" social identity theory"> social identity theory</a> </p> <a href="https://publications.waset.org/abstracts/135132/the-impact-of-music-on-social-identity-formation-and-intergroup-relations-in-american-born-korean-skaters-in-2018-winter-olympics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135132.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">207</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">7560</span> Semiotics of the New Commercial Music Paradigm</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mladen%20Milicevic">Mladen Milicevic</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This presentation will address how the statistical analysis of digitized popular music influences the music creation and emotionally manipulates consumers.Furthermore, it will deal with semiological aspect of uniformization of musical taste in order to predict the potential revenues generated by popular music sales. In the USA, we live in an age where most of the popular music (i.e. music that generates substantial revenue) has been digitized. It is safe to say that almost everything that was produced in last 10 years is already digitized (either available on iTunes, Spotify, YouTube, or some other platform). Depending on marketing viability and its potential to generate additional revenue most of the “older” music is still being digitized. Once the music gets turned into a digital audio file,it can be computer-analyzed in all kinds of respects, and the similar goes for the lyrics because they also exist as a digital text file, to which any kin of N Capture-kind of analysis may be applied. So, by employing statistical examination of different popular music metrics such as tempo, form, pronouns, introduction length, song length, archetypes, subject matter,and repetition of title, the commercial result may be predicted. Polyphonic HMI (Human Media Interface) introduced the concept of the hit song science computer program in 2003.The company asserted that machine learning could create a music profile to predict hit songs from its audio features Thus,it has been established that a successful pop song must include: 100 bpm or more;an 8 second intro;use the pronoun 'you' within 20 seconds of the start of the song; hit the bridge middle 8 between 2 minutes and 2 minutes 30 seconds; average 7 repetitions of the title; create some expectations and fill that expectation in the title. For the country song: 100 bpm or less for a male artist; 14-second intro; uses the pronoun 'you' within the first 20 seconds of the intro; has a bridge middle 8 between 2 minutes and 2 minutes 30 seconds; has 7 repetitions of title; creates an expectation,fulfills it in 60 seconds.This approach to commercial popular music minimizes the human influence when it comes to which “artist” a record label is going to sign and market. Twenty years ago,music experts in the A&R (Artists and Repertoire) departments of the record labels were making personal aesthetic judgments based on their extensive experience in the music industry. Now, the computer music analyzing programs, are replacing them in an attempt to minimize investment risk of the panicking record labels, in an environment where nobody can predict the future of the recording industry.The impact on the consumers taste through the narrow bottleneck of the above mentioned music selection by the record labels,created some very peculiar effects not only on the taste of popular music consumers, but also the creative chops of the music artists as well. What is the meaning of this semiological shift is the main focus of this research and paper presentation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=semiology" title=" semiology"> semiology</a>, <a href="https://publications.waset.org/abstracts/search?q=commercial" title=" commercial"> commercial</a>, <a href="https://publications.waset.org/abstracts/search?q=taste" title=" taste"> taste</a> </p> <a href="https://publications.waset.org/abstracts/26177/semiotics-of-the-new-commercial-music-paradigm" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26177.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">393</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">7559</span> Comparison of the Common Factors of the Top Academic Elementary Schools to the Average Elementary Schools in California: Looking beyond School Leadership</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lindy%20Valdez">Lindy Valdez</a>, <a href="https://publications.waset.org/abstracts/search?q=Daryl%20Parker"> Daryl Parker</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: There has been much research on academic achievement in elementary schools. Most of the research has been on school leadership. While research has focused on the role of leadership on school improvement, little research has examined what variables the top elementary schools have in common. To undertake school improvement, it is important to understand what factors the best schools share. The purpose of this study was to examine data of the “Best Elementary Schools in California,” based on academic achievement as rated by three prominent websites and determine if these schools had any common factors which were different than the statewide averages. The variables examined included access to subject matter specialists (physical education, art, and music), librarians, after school programs, class size, socioeconomic status, and diversity. The participants consisted of the top public elementary schools in California based on the websites i)https://www.niche.com/k12/search/best-schools/, ii)https://www.finder.com/best-schools-california,and iii)https://www.schooldigger.com/go/CA/schoolrank.aspx. The data for subject matter specialists (physical education, art, and music), librarians, after school programs, class size, socioeconomic status, and diversity were collected from these top schools and compared to California statewide averages. Results indicate that top public elementary schools in California have a high number of subject matter specialists that teach physical education, art, and music. These positions are on the decline in the average public elementary school in California, but the top schools have abundant access to these specialists. The physical education specialist has the highest statistically significant difference between the nationwide average and the top schools—librarians, and after school programs are also most commonly high in top public elementary schools in California. The high presence of these programs may be aiding academic achievement in less visible ways. Class size is small, socio-economic status is high, and diversity is low among top public elementary schools in California when compared to the statewide average public elementary schools in California. The single largest area of discrepancy was between physical education specialists in a top school and their state and nationwide averages. The socioeconomic status of schools and parents may be an underlining factor affecting several other variables. This affluence could explain how these schools were able to have access to subject matter specialists, after-school activities, and, therefore, more opportunities for physical activity and greater learning opportunities affecting academic achievement. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=academic%20achievement" title="academic achievement">academic achievement</a>, <a href="https://publications.waset.org/abstracts/search?q=elementary%20education" title=" elementary education"> elementary education</a>, <a href="https://publications.waset.org/abstracts/search?q=factors" title=" factors"> factors</a>, <a href="https://publications.waset.org/abstracts/search?q=schools" title=" schools"> schools</a> </p> <a href="https://publications.waset.org/abstracts/114838/comparison-of-the-common-factors-of-the-top-academic-elementary-schools-to-the-average-elementary-schools-in-california-looking-beyond-school-leadership" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/114838.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">133</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">7558</span> Vocal Training and Practice Methods: A Glimpse on the South Indian Carnatic Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Raghavi%20Janaswamy">Raghavi Janaswamy</a>, <a href="https://publications.waset.org/abstracts/search?q=Saraswathi%20K.%20Vasudev"> Saraswathi K. Vasudev</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music is one of the supreme arts of expressions, next to the speech itself. Its evolution over centuries has paved the way with a variety of training protocols and performing methods. Indian classical music is one of the most elaborate and refined systems with immense emphasis on the voice culture related to range, breath control, quality of the tone, flexibility and diction. Several exercises namely saraliswaram, jantaswaram, dhatuswaram, upper stayi swaram, alamkaras and varnams lay the required foundation to gain the voice culture and deeper understanding on the voice development and further on to the intricacies of the raga system. This article narrates a few of the Carnatic music training methods with an emphasis on the advanced practice methods for articulating the vocal skills, continuity in the voice, ability to produce gamakams, command in the multiple speeds of rendering with reasonable volume. The creativity on these exercises and their impact on the voice production are discussed. The articulation of the outlined conscious practice methods and vocal exercises bestow the optimum use of the natural human vocal system to not only enhance the signing quality but also to gain health benefits. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carnatic%20music" title="Carnatic music">Carnatic music</a>, <a href="https://publications.waset.org/abstracts/search?q=Saraliswaram" title=" Saraliswaram"> Saraliswaram</a>, <a href="https://publications.waset.org/abstracts/search?q=Varnam" title=" Varnam"> Varnam</a>, <a href="https://publications.waset.org/abstracts/search?q=vocal%20training" title=" vocal training"> vocal training</a> </p> <a href="https://publications.waset.org/abstracts/132867/vocal-training-and-practice-methods-a-glimpse-on-the-south-indian-carnatic-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132867.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">177</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">7557</span> Moved by Music: The Impact of Music on Fatigue, Arousal and Motivation During Conditioning for High to Elite Level Female Artistic Gymnasts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chante%20J.%20De%20Klerk">Chante J. De Klerk</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The potential of music to facilitate superior performance during high to elite level gymnastics conditioning instigated this research. A team of seven gymnasts completed a fixed conditioning programme eight times, alternating the two variable conditions. Four sessions of each condition were conducted: without music (session 1), with music (session 2), without music (3), with music (4), without music (5), and so forth. Quantitative data were collected in both conditions through physiological monitoring of the gymnasts, and administration of the Situational Motivation Scale (SIMS). Statistical analysis of the physiological data made it possible to quantify the presence as well as the magnitude of the musical intervention’s impact on various aspects of the gymnasts' physiological functioning during conditioning. The SIMS questionnaire results were used to evaluate if their motivation towards conditioning was altered by the intervention. Thematic analysis of qualitative data collected through semi-structured interviews revealed themes reflecting the gymnasts’ sentiments towards the data collection process. Gymnast-specific descriptions and experiences of the team as a whole were integrated with the quantitative data to facilitate greater dimension in establishing the impact of the intervention. The results showed positive physiological, motivational, and emotional effects. In the presence of music, superior sympathetic nervous activation, and energy efficiency, with more economic breathing, dominated the physiological data. Fatigue and arousal levels (emotional and physiological) were also conducive to improved conditioning outcomes compared to conventional conditioning (without music). Greater levels of positive affect and motivation emerged in analysis of both the SIMS and interview data sets. Overall, the intervention was found to promote psychophysiological coherence during the physical activity. In conclusion, a strategically constructed musical intervention, designed to accompany a gymnastics conditioning session for high to elite level gymnasts, has ergogenic potential. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=arousal" title="arousal">arousal</a>, <a href="https://publications.waset.org/abstracts/search?q=fatigue" title=" fatigue"> fatigue</a>, <a href="https://publications.waset.org/abstracts/search?q=gymnastics%20conditioning" title=" gymnastics conditioning"> gymnastics conditioning</a>, <a href="https://publications.waset.org/abstracts/search?q=motivation" title=" motivation"> motivation</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20intervention" title=" musical intervention"> musical intervention</a>, <a href="https://publications.waset.org/abstracts/search?q=psychophysiological%20coherence" title=" psychophysiological coherence"> psychophysiological coherence</a> </p> <a href="https://publications.waset.org/abstracts/122936/moved-by-music-the-impact-of-music-on-fatigue-arousal-and-motivation-during-conditioning-for-high-to-elite-level-female-artistic-gymnasts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/122936.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">94</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7556</span> An Investigation of the Therapeutic Effects of Indian Classical Music (Raga Bhairavi) on Mood and Physiological Parameters of Scholars</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kalpana%20Singh">Kalpana Singh</a>, <a href="https://publications.waset.org/abstracts/search?q=Nikita%20Katiyar"> Nikita Katiyar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research investigates the impact of Raga Bhairavi, a prominent musical scale in Indian classical music, on the mood and basic physiological parameters of research scholars at the University of Lucknow - India. The study focuses on the potential therapeutic effects of listening to Raga Bhairavi during morning hours. A controlled experimental design is employed, utilizing self-reporting tools for mood assessment and monitoring physiological indicators such as heart rate, oxygen saturation levels, body temperature and blood pressure. The hypothesis posits that exposure to Raga Bhairavi will lead to positive mood modulation and a reduction in physiological stress markers among research scholars. Data collection involves pre and post-exposure measurements, providing insights into the immediate and cumulative effects of the musical intervention. The study aims to contribute valuable information to the growing field of music therapy, offering a potential avenue for enhancing the well-being and productivity of individuals engaged in intense cognitive activities. Results may have implications for the integration of music-based interventions in academic and research environments, fostering a conducive atmosphere for intellectual pursuits. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=bio-musicology" title="bio-musicology">bio-musicology</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20music" title=" classical music"> classical music</a>, <a href="https://publications.waset.org/abstracts/search?q=mood%20assessment" title=" mood assessment"> mood assessment</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20therapy" title=" music therapy"> music therapy</a>, <a href="https://publications.waset.org/abstracts/search?q=physiology" title=" physiology"> physiology</a>, <a href="https://publications.waset.org/abstracts/search?q=Raga%20Bhairavi" title=" Raga Bhairavi"> Raga Bhairavi</a> </p> <a href="https://publications.waset.org/abstracts/182023/an-investigation-of-the-therapeutic-effects-of-indian-classical-music-raga-bhairavi-on-mood-and-physiological-parameters-of-scholars" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/182023.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">53</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">7555</span> Eroticism as a Tool for Addressing Socio-Cultural Inequalities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amin%20Khaksar">Amin Khaksar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The popular music scene is a highly speculative field of cultural production in which eroticism plays an essential role in attracting audiences. The juxtaposition of eroticism and cultural products possibly implies the importance of the representation of cultural values in popular music videos. As with norms in conservative societies, however, there are some types of inequalities, most of which are dominated by institutional inclinations as opposed to socio-cultural inclinations. This paper explores the challenges that increasing structural inequality poses to erotic representations, focusing on Iranian popular music videos. It outlines how eroticism is becoming a leading tool for circumventing institutional inequalities that affect some cultural values. Using the value-based approach, which draws on visual semiotics and content analysis of Iranian popular music videos compared to Western popular music videos, this study contends that the problematic nature of eroticism emerges when sexual representation takes on meaning beyond its commercial purpose. Indeed, erotica has more to say about freedom, social violence, gender discrimination, and, most importantly, values that can be shared and communicated. The concept of eroticism used in this study functions as a shared practice and can be perceived through symbols. Furthermore, the conclusions show that music artists (performers) use eroticism in three ways to represent cultural values: erotic performances, erotic qualities, and erotic narratives. The expected contribution highlights the role that eroticism can play in the encounter with institutional inequality and injustice. Consider a female celebrity whose erotic qualities help her body gain attention. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=inequality" title="inequality">inequality</a>, <a href="https://publications.waset.org/abstracts/search?q=value-%20based%20economics" title=" value- based economics"> value- based economics</a>, <a href="https://publications.waset.org/abstracts/search?q=eroticism" title=" eroticism"> eroticism</a>, <a href="https://publications.waset.org/abstracts/search?q=popular%20music%20video" title=" popular music video"> popular music video</a> </p> <a href="https://publications.waset.org/abstracts/162477/eroticism-as-a-tool-for-addressing-socio-cultural-inequalities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/162477.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">124</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">7554</span> Interpreting Some Transformational Aspects of Pentatonicism in Post-tonal Chinese Music on Dual Interval Space</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Man-Ching%20Yu">Man-Ching Yu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Chinese music, pentatonic collection is central in constituting all the harmonic and melodic elements; most of the traditional Chinese musicians particularly emphasize the importance of the smoothness between pentatonic collections when one collection modulates to another collection, articulating the roles of the pentatonic common tones. On the contrary, in post-tonal Chinese music the central features of the pentatonic modulations tend to reflect a larger number of semitonal relationships with a lesser number of common tones. This paper offers an analytical account of the transformations between pentatonic collections that arise in post-tonal Chinese music by adopting the methodology of the Tonnetz, in particular, Dual Interval Space (DIS), to elaborate and reexamine pentatonicism by focusing on the transformations between pentatonic elements, especially semitonal motion and common tones. In the essay, various pentatonic passages will be analyzed by means of DIS for highlighting the transformation of the collections. It will be shown that the pentatonic collections that are in semitonal, third, and augmented fourth relationships exhibit the maximum number of semitonal shifts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=tonnetz" title="tonnetz">tonnetz</a>, <a href="https://publications.waset.org/abstracts/search?q=pentatonicism" title=" pentatonicism"> pentatonicism</a>, <a href="https://publications.waset.org/abstracts/search?q=post-tonal%20Chinese%20music" title=" post-tonal Chinese music"> post-tonal Chinese music</a>, <a href="https://publications.waset.org/abstracts/search?q=dual%20interval%20space" title=" dual interval space"> dual interval space</a>, <a href="https://publications.waset.org/abstracts/search?q=transformation" title=" transformation"> transformation</a> </p> <a href="https://publications.waset.org/abstracts/35308/interpreting-some-transformational-aspects-of-pentatonicism-in-post-tonal-chinese-music-on-dual-interval-space" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/35308.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">562</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">7553</span> Musical Culture of Sea Gypsies in Bulon Archipelago</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rewadee%20Ungpho">Rewadee Ungpho</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research on the musical culture of Sea Gypsies in Bulon archipelago, Satun Province, is considered as an anthropology research. Research objectives were to study the history and information culture and also to find the basis information for the restoration and preservation of the music culture of Sea Gypsies who live in Bulon archipelago. Findings of the research are as follows: 1) Musical characteristics of Sea Gypsies in Bulon archipelago is still traditional. It does not mix with any external musical influence such as musical instruments, language, and other musical characteristics. There are various kind of songs which can play a complete melody and rhythm, including a total of 8 songs as follows; Lagu-Ayam-Dide, Lagu-Sitipayong, Lagu-Bulong-pute, Lagu-Chemamat, Laguduwo, Lagu-Ma-I-nang, Lagu-Mana-Ikan. 2) The roles of culture/music in Bulon archipelago correlate with Urak Lawoi society. They use music in the ceremony of votive offering, in the floating ceremony held in Lipe Island and in various festivals. Therefore, music is a spiritual sacrifice and a spiritual instrument that conveys an Urak Lawoi, which makes the Urak Lawoi still unique and has a sense of ethnic identity. 3) The inheritance of Urak Lawoi music is still being made in a traditional way, as an oral tradition with no record. The teaching and learning must be one on one, and it required length of time to practice and accumulate the knowledge. Due to above mentioned reasons, a few people attend in the inheritance. Those who are interested may not be able to practice constantly. As a result, there is only a few, or even none, descendants left. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sea%20gypsy" title="sea gypsy">sea gypsy</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=Bulon%20archipelago" title=" Bulon archipelago"> Bulon archipelago</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnomusicology" title=" ethnomusicology"> ethnomusicology</a> </p> <a href="https://publications.waset.org/abstracts/4857/musical-culture-of-sea-gypsies-in-bulon-archipelago" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/4857.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">371</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7552</span> Continuity and Changes on Traditional Puppetry in Java: The Existences of Wayang Hip Hop</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Taufik%20Hidayah">Taufik Hidayah</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Wayang is a traditional puppet show originated from Java. This traditional art is characterized by distinctive Hinduism influence. Wayang reflects the social life of the Javanese society. It contains Javanese philosophy, myths, magical stories, and religion, as well as educational media and transmission for noble values of Javanese society conveyed through the story. Nowadays, the performance of wayang has faced a new challenge to maintain its existence in the public life of Javanese society. Modernity has penetrated into every shape of culture. Many people consider traditional culture as old fashioned, particularly the young generation. That is one of the reasons why many people have left traditional culture. For maintaining the existence of wayang, a new art called ‘wayang hip hop’ has arisen. Wayang hip hop seeks to modify wayang show into a more modern form, but without removing any principles and main functions of wayang art. This article will discuss theoretically the changes and traditional continuity in wayang hip hop based on a literature review and qualitative approaches. Wayang hip hop uses hip-hop music as the background music in the show. It will discuss about the impact that comes with the existential strengthening of wayang hip hop especially among the Javanese society and discuss the opportunities that arise regarding the function of wayang hip-hop as a medium of education, social criticism, and cultural revitalization of the Javanese society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20revitalization" title="cultural revitalization">cultural revitalization</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20criticism" title=" social criticism"> social criticism</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=continuity%20and%20change" title=" continuity and change"> continuity and change</a> </p> <a href="https://publications.waset.org/abstracts/70001/continuity-and-changes-on-traditional-puppetry-in-java-the-existences-of-wayang-hip-hop" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/70001.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">241</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7551</span> Structures and Analytical Crucibles in Nigerian Indigenous Art Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Albert%20Oluwole%20Uzodimma%20Authority">Albert Oluwole Uzodimma Authority</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nigeria is a diverse nation with a rich cultural heritage that has produced numerous art musicians and a vast range of art songs. The compositional styles, tonal rhythm, text rhythm, word painting, and text-tone relationship vary extensively from one dialect to another, indicating the need for standardized tools for the structural and analytical deconstruction of Nigerian indigenous art music. The purpose of this research is to examine the structures of Nigerian indigenous art music and outline some crucibles for analyzing it, by investigating how dialectical inflection influences the choice of text tone, scale mode, tonal rhythm, and the general ambiance of Nigerian art music. The research used a structured questionnaire to collect data from 50 musicologists, out of which 41 responded. The study's focus was on the works of two prominent twentieth-century composers, Stephen Olusoji, and Nwamara Alvan-Ikoku, titled "Oyigiyigi" and "O Chineke, Inozikwa omee," respectively. The data collected was presented in percentages using pie charts and tables. The study shows that in Nigerian Indigenous music, several aspects are to be considered for proper analysis, such as linguistic sensitivity, dialectical inflection influences text-tone relationship, text rhythm and tonal rhythm, which help to convey the proper meanings of messages in songs. It also highlights the lack of standardized rubrics for analysis, which necessitated the proposal of robust criteria for analyzing African music, known as Neo-Eclectic-Crucibles. Hinging on eclectic approach, this research makes significant contributions to music scholarship by addressing the need for standardized tools and crucibles for the structural and analytical deconstruction of Nigerian indigenous art music. It provides a template for further studies leading to standardized rubrics for analyzing African music. This research collected data through a structured questionnaire and analyzed it using pie charts and tables to present the findings accurately. The analysis focused on the respondents' perspectives on the research objectives and structural analysis of two indigenous music compositions by Olusoji and Nwamara. This research answers the questions on the structures and analytical crucibles used in Nigerian indigenous art music, how dialectical inflection influences text-tone relationship, scale mode, tonal rhythm, and the general ambiance of Nigerian art music. This paper demonstrates the need for standardized tools and crucibles for the structural and analytical deconstruction of Nigerian indigenous art music. It highlights several aspects that are crucial to analyzing Nigerian indigenous music and proposes the Neo-Eclectic-Crucibles criteria for analyzing African music. The contribution of this research to music scholarship is significant, providing a template for further studies and research in the field. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art-music" title="art-music">art-music</a>, <a href="https://publications.waset.org/abstracts/search?q=crucibles" title=" crucibles"> crucibles</a>, <a href="https://publications.waset.org/abstracts/search?q=dialectical%20inflections" title=" dialectical inflections"> dialectical inflections</a>, <a href="https://publications.waset.org/abstracts/search?q=indigenous" title=" indigenous"> indigenous</a>, <a href="https://publications.waset.org/abstracts/search?q=text-tone" title=" text-tone"> text-tone</a>, <a href="https://publications.waset.org/abstracts/search?q=tonal%20rhythm" title=" tonal rhythm"> tonal rhythm</a>, <a href="https://publications.waset.org/abstracts/search?q=word-painting" title=" word-painting"> word-painting</a> </p> <a href="https://publications.waset.org/abstracts/167944/structures-and-analytical-crucibles-in-nigerian-indigenous-art-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167944.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">100</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">7550</span> Musical Notation Reading versus Alphabet Reading-Comparison and Implications for Teaching Music Reading to Students with Dyslexia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ora%20Geiger">Ora Geiger</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Reading is a cognitive process of deciphering visual signs to produce meaning. During the reading process, written information of symbols and signs is received in the person’s eye and processed in the brain. This definition is relevant to both the reading of letters and the reading of musical notation. But while the letters of the alphabet are signs determined arbitrarily, notes are recorded systematically on a staff, with the location of each note on the staff indicating its relative pitch. In this paper, the researcher specifies the characteristics of alphabet reading in comparison to musical notation reading, and discusses the question whether a person diagnosed with dyslexia will necessarily have difficulty in reading musical notes. Dyslexia is a learning disorder that makes it difficult to acquire alphabet-reading skills due to difficulties expressed in the identification of letters, spelling, and other language deciphering skills. In order to read, one must be able to connect a symbol with a sound and to join the sounds into words. A person who has dyslexia finds it difficult to translate a graphic symbol into the sound that it represents. When teaching reading to children diagnosed with dyslexia, the multi-sensory approach, supporting the activation and involvement of most of the senses in the learning process, has been found to be particularly effective. According to this approach, when most senses participate in the reading learning process, it becomes more effective. During years of experience, the researcher, who is a music specialist, has been following the music reading learning process of elementary school age students, some of them diagnosed with Dyslexia, while studying to play soprano (descant) recorder. She argues that learning music reading while studying to play a musical instrument is a multi-sensory experience by its nature. The senses involved are: sight, hearing, touch, and the kinesthetic sense (motion), which provides the brain with information on the relative positions of the body. In this way, the learner experiences simultaneously visual, auditory, tactile, and kinesthetic impressions. The researcher concludes that there should be no contra-indication for teaching standard music reading to children with dyslexia if an appropriate process is offered. This conclusion is based on two main characteristics of music reading: (1) musical notation system is a systematic, logical, relative set of symbols written on a staff; and (2) music reading learning connected with playing a musical instrument is by its nature a multi-sensory activity since it combines sight, hearing, touch, and movement. This paper describes music reading teaching procedures and provides unique teaching methods that have been found to be effective for students who were diagnosed with Dyslexia. It provides theoretical explanations in addition to guidelines for music education practices. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=alphabet%20reading" title="alphabet reading">alphabet reading</a>, <a href="https://publications.waset.org/abstracts/search?q=dyslexia" title=" dyslexia"> dyslexia</a>, <a href="https://publications.waset.org/abstracts/search?q=multisensory%20teaching%20method" title=" multisensory teaching method"> multisensory teaching method</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20reading" title=" music reading"> music reading</a>, <a href="https://publications.waset.org/abstracts/search?q=recorder%20playing" title=" recorder playing"> recorder playing</a> </p> <a href="https://publications.waset.org/abstracts/32691/musical-notation-reading-versus-alphabet-reading-comparison-and-implications-for-teaching-music-reading-to-students-with-dyslexia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/32691.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">365</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">7549</span> A Discourse on the Rhythmic Pattern Employed in Yoruba Sakara Music of Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Oludare%20Olupemi%20Ezekiel">Oludare Olupemi Ezekiel</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research examines the rhythmic structure of Sakara music by tracing its roots and analyzing the various rhythmic patterns of this neo-traditional genre, as well as the contributions of the major exponents and contemporary practitioners, using these as a model for understanding and establishing African rhythms. Biography of the major exponents and contemporary practitioners, interviews and participant observational methods were used to elicit information. Samples of the genre which were chosen at random were transcribed, notated and analyzed for academic use and documentation. The research affirmed that rhythms such as the Hemiola, Cross-rhythm, Clave or Bell rhythm, Percussive, Speech and Melodic rhythm and other relevant rhythmic theories were prevalent and applicable to Sakara music, while making important contributions to musical scholarship through its analysis of the music. The analysis and discussions carried out in the research pointed towards a conclusion that the Yoruba musicians are guided by some preconceptions and sound musical considerations in making their rhythmic patterns, used as compositional techniques and not mere incidental occurrence. These rhythmic patterns, with its consequential socio-cultural connotations, enhance musical values and national identity in Nigeria. The study concludes by recommending that musicologists need to carry out more research into this and other neo-traditional genres in order to advance the globalisation of African music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=compositional%20techniques" title="compositional techniques">compositional techniques</a>, <a href="https://publications.waset.org/abstracts/search?q=globalisation" title=" globalisation"> globalisation</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=neo-traditional" title=" neo-traditional"> neo-traditional</a>, <a href="https://publications.waset.org/abstracts/search?q=rhythmic%20theory" title=" rhythmic theory"> rhythmic theory</a>, <a href="https://publications.waset.org/abstracts/search?q=Sakara%20music" title=" Sakara music"> Sakara music</a> </p> <a href="https://publications.waset.org/abstracts/31287/a-discourse-on-the-rhythmic-pattern-employed-in-yoruba-sakara-music-of-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/31287.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">442</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7548</span> Prediction of Music Track Popularity: A Machine Learning Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Syed%20Atif%20Hassan">Syed Atif Hassan</a>, <a href="https://publications.waset.org/abstracts/search?q=Luv%20Mehta"> Luv Mehta</a>, <a href="https://publications.waset.org/abstracts/search?q=Syed%20Asif%20Hassan"> Syed Asif Hassan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Hit song science is a field of investigation wherein machine learning techniques are applied to music tracks in order to extract such features from audio signals which can capture information that could explain the popularity of respective tracks. Record companies invest huge amounts of money into recruiting fresh talents and churning out new music each year. Gaining insight into the basis of why a song becomes popular will result in tremendous benefits for the music industry. This paper aims to extract basic musical and more advanced, acoustic features from songs while also taking into account external factors that play a role in making a particular song popular. We use a dataset derived from popular Spotify playlists divided by genre. We use ten genres (blues, classical, country, disco, hip-hop, jazz, metal, pop, reggae, rock), chosen on the basis of clear to ambiguous delineation in the typical sound of their genres. We feed these features into three different classifiers, namely, SVM with RBF kernel, a deep neural network, and a recurring neural network, to build separate predictive models and choosing the best performing model at the end. Predicting song popularity is particularly important for the music industry as it would allow record companies to produce better content for the masses resulting in a more competitive market. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=classifier" title="classifier">classifier</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20tracks" title=" music tracks"> music tracks</a>, <a href="https://publications.waset.org/abstracts/search?q=popularity" title=" popularity"> popularity</a>, <a href="https://publications.waset.org/abstracts/search?q=prediction" title=" prediction"> prediction</a> </p> <a href="https://publications.waset.org/abstracts/65509/prediction-of-music-track-popularity-a-machine-learning-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65509.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">663</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">7547</span> Creative Practice and Consciousness in Juju Music: A Nigerian Musical and Cultural Perspective </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olupemi%20E.%20Oludare">Olupemi E. Oludare</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper investigates the creative practice engaged in Juju music, a Nigerian Neo-traditional genre of the Yoruba, and its influence on the consciousness of societal praxis. It takes a musical and cultural perspective, as representational indices of how the people’s religious, social, educational, and political consciousness is expressed in their music. The study adopts the historical cum descriptive design in its methodology, tracing the historical development of Juju music, the appropriation of musical and cultural materials in its creative process, and a descriptive analysis of its musical practice, in order to substantiate the role and function of Juju music and its musicians in the political, philosophical, and social consciousness of Nigeria’s pre- and post-independence epoch. Data were collected through oral interviews of selected Juju practitioners, stakeholders, and enthusiasts. It also employed the use of discography of Juju musicians. This paper discusses musical factors such as form, melodic and rhythmic patterns, and thematic materials, while highlighting cultural factors such as linguistic elements, with textual analysis, as a conscious avenue of expression. The study revealed that Juju musicians composed their music by engaging both indigenous and foreign musical materials, as a means of creative practice for musical entertainment, while expressing the people’s consciousness of their beliefs, values, and socio-political issues, hence the music functioning as a vehicle for social commentaries. The popularization and commercialization of Juju music brought the musicians national and international accolades, subsequently attracting contributions from contemporary musicians, which led to innovations of new brands, such as ‘Afro-Juju’, ‘Gospel-Juju’, ‘Hip-Hop-Juju’, etc., albeit retaining the basic musical elements of its progenitor, as a conscious music for socio-cultural functions. This study concludes that Juju music and its musicians remain germane in the musical scene of the nation’s social, educational, and political terrain, especially in the current Nigerian democratic climate. This paper recommends the promotion and patronage of the Juju music in its original form, to prevent its decline in current times, since it serves as an enrichment of national identity both in Nigeria, and Internationally. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=appropriation" title="appropriation">appropriation</a>, <a href="https://publications.waset.org/abstracts/search?q=consciousness" title=" consciousness"> consciousness</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20practice" title=" creative practice"> creative practice</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20identity" title=" national identity"> national identity</a>, <a href="https://publications.waset.org/abstracts/search?q=neo-traditional" title=" neo-traditional"> neo-traditional</a> </p> <a href="https://publications.waset.org/abstracts/28597/creative-practice-and-consciousness-in-juju-music-a-nigerian-musical-and-cultural-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/28597.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">426</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7546</span> Online or Offline: A Pilot Study of Blended Ear-Training Course</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Monika%20Benedek">Monika Benedek</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper intends to present a pilot study of blended ear-training course at a Finnish university. The course ran for ten weeks and included both traditional (offline) group lessons for 90 minutes each week and an online learning platform. Twelve students majored in musicology and music education participated in the course. The aims of pilot research were to develop a new blended ear-training course at university level, to determine the ideal amount of workload in each part of the blended instruction (offline and online) and to develop the course material. The course material was selected from the Classical period in order to develop students’ aural skills together with their stylistic knowledge. Students were asked to provide written feedback of the course content and learning approaches of face-to-face group lessons and online learning platform each week during the course. Therefore, the teaching material is continuously planned for each week. This qualitative data collection and weekly analysis of data are on progress. However, based on the teacher-researcher’s experiences and the students’ feedback already collected, it could be seen that the blended instruction would be an ideal teaching strategy for ear-trainging at the music programmes of universities to develop students’ aural skills and stylistic knowledge. It is also presumed that such blended instruction with less workload would already improve university students’ aural skills and related musicianship skills. The preliminary findings of research also indicated that students generally found those ear-training tasks the most useful to learn online that combined listening, singing, singing and playing an instrument. This paper intends to summarise the final results of the pilot study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=blended-learning" title="blended-learning">blended-learning</a>, <a href="https://publications.waset.org/abstracts/search?q=ear-training" title=" ear-training"> ear-training</a>, <a href="https://publications.waset.org/abstracts/search?q=higher%20music%20education" title=" higher music education"> higher music education</a>, <a href="https://publications.waset.org/abstracts/search?q=online-learning" title=" online-learning"> online-learning</a>, <a href="https://publications.waset.org/abstracts/search?q=pilot%20study" title=" pilot study"> pilot study</a> </p> <a href="https://publications.waset.org/abstracts/102172/online-or-offline-a-pilot-study-of-blended-ear-training-course" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102172.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">155</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">7545</span> Assessment of Music Performance Anxiety in Portuguese Children and Adolescents</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pedro%20Dias">Pedro Dias</a>, <a href="https://publications.waset.org/abstracts/search?q=Lurdes%20Verissimo"> Lurdes Verissimo</a>, <a href="https://publications.waset.org/abstracts/search?q=Maria%20Joao%20Baptista"> Maria Joao Baptista</a>, <a href="https://publications.waset.org/abstracts/search?q=Ana%20Pinheiro"> Ana Pinheiro</a>, <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Oliveira-Silva"> Patricia Oliveira-Silva</a>, <a href="https://publications.waset.org/abstracts/search?q=Sofia%20Serra"> Sofia Serra</a>, <a href="https://publications.waset.org/abstracts/search?q=Daniela%20Coimbra"> Daniela Coimbra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> To achieve a high standard in performance, a musician must be well in all aspects of health (physical, mental and social). Anxiety in performance is related to the high level of coordination and skill needed in performance, as well as to the public evaluation of the performer. It affects some key elements of performance, such as concentration, memory, motor coordination, and relaxation. This work presents two studies focused on the adaptation and evaluation of the psychometric properties of the Music Performance Anxiety Inventory (MPAI-A) in young Portuguese music students. The first study was conducted with a sample of 161 adolescent music students, who responded to the Portuguese version of this instrument, and to the State-Trait Anxiety Inventory for Children (STAIC-c2). Validity and reliability were examined, and this measure revealed robust psychometric properties in this sample. The second study aimed to adapt the MPAI to a younger population (one hundred 8-10 years-old music students). Again, the MPAI and the STAIC c-2 were used in this study. Exploratory factor analysis, correlations, and internal consistency were used to evaluate the final children version of the instrument (MPAI-C), presenting a different factor structure compared to the adolescent version (10 items organized in 2 factors) and high levels of reliability and convergent validity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=anxiety" title="anxiety">anxiety</a>, <a href="https://publications.waset.org/abstracts/search?q=assessment" title=" assessment"> assessment</a>, <a href="https://publications.waset.org/abstracts/search?q=children%20and%20adolescents" title=" children and adolescents"> children and adolescents</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20performance" title=" music performance"> music performance</a> </p> <a href="https://publications.waset.org/abstracts/98451/assessment-of-music-performance-anxiety-in-portuguese-children-and-adolescents" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98451.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">190</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7544</span> The Influence of Japanese Poetry in Spanish Piano Music: Benet Casablancas and Mercedes Zavala’s Haikus</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Isabel%20%20P%C3%A9rez%20Dobarro">Isabel Pérez Dobarro </a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the mid-twentieth century, Spanish composers started looking beyond the national folkloric tradition (adopted by Albéniz, Granados, and Falla) and Rodrigo’s neoclassicism, and searched for other sources of inspiration. Japanese Haikus fascinated Spanish musicians, who found in their brevity and imagination a new avenue to develop their creativity. The goal of this research is to study how two renowned Spanish authors, Benet Casablancas and Mercedes Zavala, incorporated Haikus into their piano works. Based on Bruhn’s methodology on text and instrumental music relations, and developing a score and text analysis complemented by interviews with both composers, this study has revealed three possible interactions between the Haikus and these composers’ piano writing: inspiration, transmedialization, and mimesis. Findings also include specific technical gestures to support each of these approaches. Commonalities between their pieces and those by other non-Spanish composers such as Jonathan Harvey, John Cage, and Michael Berkeley have also been explored. According to the author's knowledge, this is the first study on the Japanese influence in Spanish piano music. Thus, it opens a new path for understanding musical exchanges between both countries as well as contemporary piano tools that support the interaction between text and music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Haiku" title="Haiku">Haiku</a>, <a href="https://publications.waset.org/abstracts/search?q=Spanish%20piano%20music" title=" Spanish piano music"> Spanish piano music</a>, <a href="https://publications.waset.org/abstracts/search?q=Benet%20Casablancas" title=" Benet Casablancas"> Benet Casablancas</a>, <a href="https://publications.waset.org/abstracts/search?q=Mercedes%20Zavala" title=" Mercedes Zavala"> Mercedes Zavala</a> </p> <a href="https://publications.waset.org/abstracts/128209/the-influence-of-japanese-poetry-in-spanish-piano-music-benet-casablancas-and-mercedes-zavalas-haikus" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/128209.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">152</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">7543</span> Effects of Turkish Classical Music on Cognitive Function, Depression and Quality of Life in Elderly</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rukiye%20Pinar%20Boluktas">Rukiye Pinar Boluktas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> According to 2015 statistics, in Turkey, 46% of older people live alone in their homes, 55% have poor health perceptions, 18% face poverty, and 43% are unhappy. Prevalence of depression is between 14% and 20%. In 2013, rate of suicide was 6.5. However, the most of older people prefer to live in their community although they are lonely, they face poverty, and face limitations as a result of chronic diseases and disabilities. Community based care for older people is also encouraged by Ministry of Health as it is more cost-effective. Music therapy is a simple, effective, safe, and nonpharmacologic intervention that may be used to decrease depression and to improve cognition, and health related quality of life (HRQOL). In Turkish culture, music is typically described as ‘food for soul’. This study aimed to investigate the effect of Turkish classical music songs in 32 community dwelling older people. Participants were received interventions two or three times per week, 50-60 min per session, for 8 weeks at a day health center. Each intervention session started listening music for 15-20 min to get remember songs, then followed singing songs as a group. Participants were assessed at baseline (week 0), and two follow-up at month 1 and month 2. Compared to baseline, at two follow-up, we observed that cognition improved, depression decreased, and SF-36 scores, including 8 domains and two summary scores increased. We conclude that an intervention comprising listening and singing Turkish classical music improve cognition, depression and HRQOL in older people. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cognitive%20function" title="cognitive function">cognitive function</a>, <a href="https://publications.waset.org/abstracts/search?q=depression" title=" depression"> depression</a>, <a href="https://publications.waset.org/abstracts/search?q=elderly" title=" elderly"> elderly</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=Turkish%20classical%20music" title=" Turkish classical music"> Turkish classical music</a> </p> <a href="https://publications.waset.org/abstracts/90493/effects-of-turkish-classical-music-on-cognitive-function-depression-and-quality-of-life-in-elderly" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/90493.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">165</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">7542</span> Music Responsiveness and Cultural Practice: Tarok Ethnic Group of Plateau State in Focus</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Johnson-Egemba%20Helen%20Amaka">Johnson-Egemba Helen Amaka</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music is emotional in the sense that it controls people’s feelings. The way and manner people react to music at a point in time depend on the type of music that is playing. Music can make someone to march or dance, to cry or laugh, to be happy or sad, to fight or make peace and so on. It therefore makes someone o exhibit some kind of behaviours, either positive or negative. Even dangerous animals have been found to be controlled by music. In the psychiatric homes, mad people are always found to be dancing to music. During funeral ceremony, music singing and dancing are sources of comfort to the bereaved. As a background to the study, Tarok ethnic group in Plateau State was used. The Tarok comprise of Langtang North and South Local Government Areas. The ethnic group of Tarok integrates music in almost all the activities of their lives. A total of six (6) types of folk songs were identified. These songs range from marriages, funeral, royalty, togetherness, war, rituals, festivals, and farming. This paper points out the significance of basic responsiveness of the Tarok people towards the folk songs, their reaction generally whether positive or negative. The methods of data collection employed in this work include oral interview approach, recording of various types of Tarok folk songs, consulting of journals, magazines and textbooks. The researcher used oral interview as her primary source of information which is found to be the most effective procedure in carrying out this task. The songs were textually analyzed with a view to unveiling their meanings, thought processes, and conveying their direction and functions within the context of their rendition. The major findings of the study are that music in Tarok culture covers the physical, mental, emotional and social experiences. The physical aspect is the motor skills, which include dancing and demonstration of the songs. The mental experiences are intellectual levels which include construction and manufacturing of musical instruments, composing songs, teaching and learning etc. Furthermore, this research provided in addition to musical activities, the literature, history and culture of the Tarok communities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural" title="cultural">cultural</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=practice" title=" practice"> practice</a>, <a href="https://publications.waset.org/abstracts/search?q=responsiveness" title=" responsiveness "> responsiveness </a> </p> <a href="https://publications.waset.org/abstracts/26930/music-responsiveness-and-cultural-practice-tarok-ethnic-group-of-plateau-state-in-focus" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26930.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">296</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">7541</span> The Folk Influences in the Melody of Romanian and Serbian Church Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eudjen%20Cinc">Eudjen Cinc</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Common Byzantine origins of church music of Serbs and Romanians are certainly not the only reason for great similarities between the ways of singing of the two nations, especially in the region of Banat. If it was so, the differences between the interpretation of church music in this part of Orthodox religion and the one specific for other parts where Serbs or Romanians live could not be explained. What is it that connects church signing of two nations in this peaceful part of Europe to such an extent that it could be considered a comprehensive corpus, different from other 'Serbian' or 'Romanian' regions? This is the main issue dealt with in the text according to examples and comparative processing of material. The main aim of the paper is representation of the new and interesting, while its value lies in its potential to encourage the reader or a future researcher to investigate and search further. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=folk%20influences" title="folk influences">folk influences</a>, <a href="https://publications.waset.org/abstracts/search?q=melody" title=" melody"> melody</a>, <a href="https://publications.waset.org/abstracts/search?q=melodic%20models" title=" melodic models"> melodic models</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnomusicology" title=" ethnomusicology"> ethnomusicology</a> </p> <a href="https://publications.waset.org/abstracts/4808/the-folk-influences-in-the-melody-of-romanian-and-serbian-church-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/4808.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">253</span> </span> </div> </div> <ul class="pagination"> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20education&page=5" rel="prev">&lsaquo;</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20education&page=1">1</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20education&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20education&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20education&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20education&page=5">5</a></li> <li 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