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piano</title> <meta name="description" content="Search results for: piano"> <meta name="keywords" content="piano"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="piano"> <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> 38</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: piano</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">38</span> Performance Practices in Classic Piano Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mahdi%20Kazemi">Mahdi Kazemi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Today's performances on Piano Forte or Fortepiano are cheerful, musical, expressive, and at the same time informative. AlterMuskie is an exciting and richly drawn magazine that is unmatched in its field. First published in 1973, it is a magazine for anyone interested in early music and its contemporary interpretation. Alexander Scriabin's (1871_1915) work has traditionally focused on his music in the mid and late 1902s. The discussion of his personal philosophy and his influence on music also focuses on these two periods. Over the last few decades, the repertoire of British classical solo pianos has received increasing interest from researchers. From the piano rolls of the early 20th century, much can be inferred about the practice of romantic piano playing. Summary Haydn's most important piano works are the sonatas, which generally represent Haydn's development as a composer from the early to the last three sonata dates, 1794. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=piano" title="piano">piano</a>, <a href="https://publications.waset.org/abstracts/search?q=classic%20piano" title=" classic piano"> classic piano</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a> </p> <a href="https://publications.waset.org/abstracts/143424/performance-practices-in-classic-piano-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143424.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">188</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">37</span> Exploring Polyphonic Texture in Chopin's Piano Works</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Frederic Chopin created numerous acclaimed piano compositions that have been both appreciated and analyzed by musicians starting from the Romantic Period. These compositions are still being played globally with specific privileges among pianists. This study examines particular elements within Chopin's piano works and how they can be interpreted and instructed to those who are not acquainted with his pieces. The theory suggests that particular melodic attributes can be found in Chopin's piano compositions. Therefore, various elements can be recognized, such as polyphonic textures, decorated phrases, themes and variations, inner patterns tuning, blending harmonics, and conflicting beats. These characteristics were discovered within theoretical analysis has identified many of Chopin's compositions. The aim of this study is to identify the musical characteristics of analyzable through music theory and demonstrate a distinctive pianistic polyphonic texture in Chopin's solo piano compositions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chopin" title="Chopin">Chopin</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=composition" title=" composition"> composition</a>, <a href="https://publications.waset.org/abstracts/search?q=polyphonic" title=" polyphonic"> polyphonic</a>, <a href="https://publications.waset.org/abstracts/search?q=texture" title=" texture"> texture</a> </p> <a href="https://publications.waset.org/abstracts/187039/exploring-polyphonic-texture-in-chopins-piano-works" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187039.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">35</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">36</span> A High Performance Piano Note Recognition Scheme via Precise Onset Detection and Segmented Short-Time Fourier Transform</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sonali%20Banrjee">Sonali Banrjee</a>, <a href="https://publications.waset.org/abstracts/search?q=Swarup%20Kumar%20Mitra"> Swarup Kumar Mitra</a>, <a href="https://publications.waset.org/abstracts/search?q=Aritra%20Acharyya"> Aritra Acharyya</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A piano note recognition method has been proposed by the authors in this paper. The authors have used a comprehensive method for onset detection of each note present in a piano piece followed by segmented short-time Fourier transform (STFT) for the identification of piano notes. The performance evaluation of the proposed method has been carried out in different harsh noisy environments by adding different levels of additive white Gaussian noise (AWGN) having different signal-to-noise ratio (SNR) in the original signal and evaluating the note detection error rate (NDER) of different piano pieces consisting of different number of notes at different SNR levels. The NDER is found to be remained within 15% for all piano pieces under consideration when the SNR is kept above 8 dB. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=AWGN" title="AWGN">AWGN</a>, <a href="https://publications.waset.org/abstracts/search?q=onset%20detection" title=" onset detection"> onset detection</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20note" title=" piano note"> piano note</a>, <a href="https://publications.waset.org/abstracts/search?q=STFT" title=" STFT"> STFT</a> </p> <a href="https://publications.waset.org/abstracts/96023/a-high-performance-piano-note-recognition-scheme-via-precise-onset-detection-and-segmented-short-time-fourier-transform" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96023.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">160</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">35</span> Performance Evaluation of a Piano Key Weir</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20Shaheer%20Ali">M. Shaheer Ali</a>, <a href="https://publications.waset.org/abstracts/search?q=Talib%20Mansoor"> Talib Mansoor</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Piano Key Weir (PKW) is a particular shape of labyrinth weir, using up- and/or downstream overhangs. The horizontal rectangular labyrinth shape allows to multiply the crest length for a given weir width. With the increasing demand of power, it is becoming greatly essential to increase the storage capacity of existing dams without neglecting their safety. The present aims at comparing the performance of piano key weirs in respect to the normal sharp-crested weirs. The discharge v/s head data for the piano key weir and normal sharp-crested weir obtained from the experimental study were compared and analysed using regression analysis. Piano key weir was found to perform doubly w.r.t a normal weir. The flow profiles show the parabolic nature of flow and the nappe interference in the inlet keys. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=crest%20length" title="crest length">crest length</a>, <a href="https://publications.waset.org/abstracts/search?q=flow%20profile" title=" flow profile"> flow profile</a>, <a href="https://publications.waset.org/abstracts/search?q=labyrinth%20weir" title=" labyrinth weir"> labyrinth weir</a>, <a href="https://publications.waset.org/abstracts/search?q=normal%20weir" title=" normal weir"> normal weir</a>, <a href="https://publications.waset.org/abstracts/search?q=nappe%20interference" title=" nappe interference"> nappe interference</a>, <a href="https://publications.waset.org/abstracts/search?q=overhangs" title=" overhangs"> overhangs</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20key%20weir" title=" piano key weir"> piano key weir</a> </p> <a href="https://publications.waset.org/abstracts/24326/performance-evaluation-of-a-piano-key-weir" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/24326.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">294</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">34</span> Principles of Music Composition in Impressionism by Focusing on Claude Debussy and Maurice Ravel’s Piano Works</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The essence of Musical Impressionism is best captured in the compositions of Claude Debussy and Maurice Ravel. These two important individuals represent the core of this art form, with their piano compositions remaining significant, impactful, and commonly performed in contemporary times. Their piano works reflected a revolutionary compositional style that strayed from classical romanticism and drew heavy inspiration from Symbolist poets and Asian arts. Additionally, numerous technical applications are commonly utilized to exemplify the principles of impressionism style by composers who did not frequently use them in prior eras, resulting in effectively evoking impressionistic images through diverse sonorities. The goal of this study is to showcase the range of impressionistic elements and compositional techniques, such as dissonances, pentatonic and whole-tone scales, parallel movements, and polytonality, through an examination of their piano compositions. <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=impressionism" title=" impressionism"> impressionism</a>, <a href="https://publications.waset.org/abstracts/search?q=Debussy" title=" Debussy"> Debussy</a>, <a href="https://publications.waset.org/abstracts/search?q=ravel" title=" ravel"> ravel</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=composition" title=" composition"> composition</a> </p> <a href="https://publications.waset.org/abstracts/186693/principles-of-music-composition-in-impressionism-by-focusing-on-claude-debussy-and-maurice-ravels-piano-works" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186693.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">38</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">33</span> Three Memorizing Strategies Reflective of Individual Students' Learning Modalities Applied to Piano Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olga%20Guseynova">Olga Guseynova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Being an individual activity, the memorizing process is affected to a greater degree by the individual variables; therefore, one of the decisive factors influencing the memorization is students’ individual characteristics. Based on an extensive literature study in the domains of piano education, psychology, and neuroscience, this comprehensive research was designed in order to develop three memorizing strategies that are reflective of individual students’ learning modalities (visual, kinesthetic and auditory) applied to the piano education. The design of the study required an interdisciplinary approach which incorporated the outcome of neuropsychological and pedagogic experiments. The objectives were to determine the interaction between the process of perception and the process of memorizing music; to systematize the methods of memorizing piano sheet music in accordance with the specifics of perception types; to develop Piano Memorization Inventory (PMI) and the Three Memorizing Strategies (TMS). The following research methods were applied: a method of interdisciplinary analysis and synthesis, a method of non-participant observation. As a result of literature analysis, the following conclusions were made: the majority of piano teachers and piano students participated in the surveys, had not used and usually had not known any memorizing strategy regarding learning styles. As a result, they had used drilling as the main strategy of memorizing. The Piano Memorization Inventory and Three Memorizing Strategies developed by the author of the research were based on the observation and findings of the previous researches and considered the experience of pedagogical and neuropsychological studies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=interdisciplinary%20approach" title="interdisciplinary approach">interdisciplinary approach</a>, <a href="https://publications.waset.org/abstracts/search?q=memorizing%20strategies" title=" memorizing strategies"> memorizing strategies</a>, <a href="https://publications.waset.org/abstracts/search?q=perceptual%20learning%20styles" title=" perceptual learning styles"> perceptual learning styles</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20memorization%20inventory" title=" piano memorization inventory"> piano memorization inventory</a> </p> <a href="https://publications.waset.org/abstracts/88190/three-memorizing-strategies-reflective-of-individual-students-learning-modalities-applied-to-piano-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/88190.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">305</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">32</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">31</span> Discovery of the Piano Extended Techniques by Focusing on Symbols That George Crumb Used in Makrokosmos Volumes</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> George Crumb's Makrokosmos Volumes are considered significant pieces in twentieth-century piano music and showcase the extensive use of different tones and extended techniques on the piano. Crumb's works are known for making references, particularly to music from previous eras which the visual, aural, and numerical characteristics are symbolic in nature. Crumb created a list of symbols and shortened letters to clarify his unique directions to those who performed his compositions. The pianists who prepare to play Makrokosmos must dedicate time to study and analyze Crumb's markings diligently to accurately capture the composer's wishes. The aim of this paper is to provide a collection for pianists looking to perform George Crumb's compositions known as Makrokosmos Volumes. The research traits of unconventional playing techniques and discussions on the music explored by the composer are being described. <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=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=Crumb" title=" Crumb"> Crumb</a>, <a href="https://publications.waset.org/abstracts/search?q=Makrokosmos" title=" Makrokosmos"> Makrokosmos</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/186687/discovery-of-the-piano-extended-techniques-by-focusing-on-symbols-that-george-crumb-used-in-makrokosmos-volumes" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186687.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">47</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">30</span> Effects of Major and Minor Modes to Emotional Perceptions of 'Happy' and 'Sad' in Piano Music among Students Aged 9-17</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nurezlin%20Mohd%20Azib">Nurezlin Mohd Azib</a>, <a href="https://publications.waset.org/abstracts/search?q=Pan%20Kok%20Chang"> Pan Kok Chang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This quantitative study investigates the effects of major and minor modes, and contributing musical parameter of tempo, to the emotional perceptions of ‘happy’ and ‘sad’ in piano music among subjects aged 9-17 years old. The study was conducted in two phases; survey-questionnaire, and listening activity. Subjects (N=31) were sampled from piano music students’ population in Bangi, Selangor. In the survey-questionnaire, subjects answered 20 questions on demographic characteristics, music listening and preference, and understanding of emotional perception in music. In the listening activity, subjects listened to 20 untitled piano music excerpts and rated the emotion perceived for each excerpt, whether ‘happy’ or ‘sad’. Results from survey-questionnaire show that most percentage of subjects are 11 years old, in Grade 1, of 3 years of learning piano, prefer classical music, always listen to music, prefer both major and minor modes’ music, and find it easy to understand emotion in music, as well as major and minor modes. Results from listening activity show that 60 % of major mode music are perceived as ‘major-happy’, while 60 % too, of minor mode music are perceived as ‘minor-sad’. However, Chi-square test of independence statistical analysis indicates that there are no association and significant relationship between modes (major and minor) and ‘happy’, as well as ‘sad’ perceptions (x2 (1, N = 20) = 0.80, p = 0.371), at the significance level of p ≤ 0.05. Contrastingly, there are association and significant relationship between tempo (fast and slow), and ‘happy’, as well as ‘sad’ perceptions (x2 (1, N = 20) = 9.899, p = 0.005). Therefore, it is concluded that tempo plays an important role in effects of major and minor mode to ‘happy’ and ‘sad’ emotional perceptions in piano music among subjects aged 9 to 17 in this study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=effects" title="effects">effects</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20perceptions" title=" emotional perceptions"> emotional perceptions</a>, <a href="https://publications.waset.org/abstracts/search?q=major%20and%20minor%20modes" title=" major and minor modes"> major and minor modes</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20music" title=" piano music"> piano music</a> </p> <a href="https://publications.waset.org/abstracts/55914/effects-of-major-and-minor-modes-to-emotional-perceptions-of-happy-and-sad-in-piano-music-among-students-aged-9-17" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/55914.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">216</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">29</span> The Genre Narrative in Beethoven's E-Flat Piano Sonata, Op.31/3</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yan%20Zou">Yan Zou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Approach to the theory of Musical Narrative, as well as the three criteria of the 'explicit narrative', 'potential narrative' and 'image narrative' which are used to analyze the music, the author put Beethoven’s Piano Sonata in E-flat major, Op.31/3, into the context of the music genre and Western music history, and interpreted the programmatic contents that were embodied and hid in the special music genres. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=analysis" title="analysis">analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=genre" title=" genre"> genre</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=rhetoric" title=" rhetoric"> rhetoric</a> </p> <a href="https://publications.waset.org/abstracts/41842/the-genre-narrative-in-beethovens-e-flat-piano-sonata-op313" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41842.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">369</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">28</span> Beneath the Leisurely Surface: An Analysis of the Piano Lesson Frenzy among Chinese Middle-Class Parents</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yijie%20Wang">Yijie Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Tianyue%20Wang"> Tianyue Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the past two decades, there has been a great ‘piano lesson frenzy’ among Chinese middle-class families, with a large number of parents adding piano training to children’s extra-curriculum lists. Superficially, the frenzy reflects a rather ‘leisurely’ attitude: parents typically claim that pianos lessons are ‘just for fun’ and will hopefully render children’s life more exciting. However, a closer scrutiny reveals that there is great social-status anxiety hidden beneath this ‘leisurely’ surface. Based on pre-interviews of six Chinese middle-class parents who have enthusiastically signed their children up for piano lessons, several tentative analysis are made: 1. Owing to a series of historical and social factors, the Chinese middle-class have yet to establish their cultural norms in the past few decades, resulting in great confusion concerning how to cultivate cultural tastes in their offspring. And partly due to the fact that the middle-class status of the past Chinese generation is mostly self-acquired rather than inherited, parents are much less confident about their cultural resources—which require long-time accumulation—than material ones. Both factors combine to lead to a sort of blind, overcompensating enthusiasm in culture-related education, and the piano frenzy is but a demonstration. 2. The piano has been chosen to be the object of the frenzy partly because of its inherent characteristics as well as socially-constructed ones. Costly, large in size, imported from another culture and so forth, the piano has acquired the meaning of being exclusive, high-end and exotic, which renders it a token of top-tier status among Chinese people, and piano lessons for offspring have therefore become parents’ paths towards a kind of ‘symbolic elevation’. A child playing piano is an exhibition as well as psychological assurance of the families’ middle-class status. 3. A closer look at children’s piano training process reveals that there is much more anxiety than leisurely elements involved. Despite parents’ claim that ‘piano is mainly for kids to have fun,’ the whole process is evidently of a rather ‘ascetic’ nature, with the demands of diligence and senses of time urgency throughout, and techniques rather than flair or styles are emphasized. This either means that the apparent ‘piano-for-fun’ stance is unauthentic and is only other motives in disguise, or that the Chinese middle-class parents are not yet capable of shaking off the sense of anxiety even if they sincerely intend to. 4. When viewed in relation to Chinese formal school system as well as the job market at large, it can be said that by signing children up for piano lessons, parents are consciously or unconsciously seeking to prepare for, or reduce the risks of, their children’s future social mobility. In face of possible failures in the highly-crucial, highly-competitive formal school system, piano-playing as an extra-curriculum activity may be conveniently transferred into an alternative career path. Besides, in contemporary China, as the occupational structure goes through change, and the school-related certificates decline in value, aspects such as a person’s overall deportment, which can be gained or proved by piano-learning, have been gaining in significance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=extra-curriculum%20activities" title="extra-curriculum activities">extra-curriculum activities</a>, <a href="https://publications.waset.org/abstracts/search?q=middle%20class" title=" middle class"> middle class</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20lesson%20frenzy" title=" piano lesson frenzy"> piano lesson frenzy</a>, <a href="https://publications.waset.org/abstracts/search?q=status%20anxiety" title=" status anxiety"> status anxiety</a> </p> <a href="https://publications.waset.org/abstracts/90592/beneath-the-leisurely-surface-an-analysis-of-the-piano-lesson-frenzy-among-chinese-middle-class-parents" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/90592.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">245</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">27</span> Analyzing Claude Debussy’s Piano Preludes by Focusing on His Recordings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Between 1910 and 1912, Claude Debussy recorded twelve of his solo piano pieces. Although Debussy frequently provided advice to his students on performing while they followed the written notes when performing, his personal recordings are characterized by creative liberties and unique freedom interpretations. Debussy's use of numerous interpretive gestures in these recordings is fascinating and corresponds with the techniques utilized by French Baroque keyboard performers. This paper will situate Debussy's presentation in the Baroque musical approach. Initially, we will discuss the recording by analyzing Welte-Mignon's used technology to guarantee the reliability of these recordings. Then, we will find commonalities in the intricate performances of harpsichord musicians who played in the 1600s and 1700s and recordings of Debussy. Finally, by drawing comparisons, we will review the patterns by contrasting Debussy's execution with recordings of the same pieces from the latter half of the 20th century as striving for improved presentations while limiting artistic freedom. <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=Debussy" title=" Debussy"> Debussy</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=prelude" title=" prelude"> prelude</a> </p> <a href="https://publications.waset.org/abstracts/186665/analyzing-claude-debussys-piano-preludes-by-focusing-on-his-recordings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186665.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">45</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">26</span> Debussy's Piano Music: Style Characteristics in Three Categories</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rika%20Uchida">Rika Uchida</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Claude Debussy's piano works can be divided into three categories in terms of style characteristics. The first category includes works which are strongly impressionistic, evoking a mood or an atmosphere, rather than making a direct, clear statement. These works often depict nature, and they are descriptive and sensitive in their character. Harmonic vocabulary is often complex, and the sense of tonality is often ambiguous in those works. Examples which belong to this category are ‘Clair de lune’ from Suite Bergamasque, Deux Arabesques, and ‘Reflets dans l'eau’ from Images Book 2. The second category shows little or no trace of impressionism. Works are not descriptive; rather, they are classical or absolute. Examples which belong to this category are Pour le Piano, ‘Hommage à Rameau’ and ‘Movement’ from Images Book 1 and Etudes. The third category can be called exotic. Debussy had a great interest in foreign lands such as the Far and Near East, and Spain. He employs pentatonic and quartal harmonies to describe the Orient, occasionally using the effect of the Javanese gamelan, which impressed him at the Paris Exhibition. His compositions in the Spanish style evoke the atmosphere of Spain. Though he borrowed some techniques from Spanish composers whom he knew, the tonal experimentation which occurs in these works sets them apart. Examples which belong to this category are ‘Pagodes’ and ‘la Soiree dans Grenade’ from Estampes, ‘la Puerta del Vino’ from Preludes Book 2. <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=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=Debussy" title=" Debussy"> Debussy</a>, <a href="https://publications.waset.org/abstracts/search?q=style" title=" style"> style</a> </p> <a href="https://publications.waset.org/abstracts/133673/debussys-piano-music-style-characteristics-in-three-categories" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133673.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">156</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">25</span> Analysis of Tempo Indications, Segmentations, and Musical Ideas in Mozart’s Piano Sonatas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Musical compositions are typically examined from various perspectives, with a focus on elements such as melody, harmony, and rhythm. This study provides a comprehensive analysis of tempo indications, segmentations, and musical ideas in Wolfgang Amadeus Mozart's piano sonatas, highlighting the intricate relationship between these elements and their contribution to the overall interpretative landscape of his works. Through a detailed examination of select sonatas, the research categorizes tempo markings and explores their implications for performance practice, emphasizing how Mozart's choices reflect his compositional intentions and the stylistic conventions of the Classical era. Additionally, the segmentation of musical phrases is analyzed to reveal patterns of thematic development and transition, demonstrating how Mozart employs structural techniques to enhance expressive depth. By synthesizing these aspects, the paper aims to offer insights into the complexities of Mozart's musical language, encouraging a deeper appreciation of his sonatas both in scholarly discourse and practical performance. <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=Mozart" title=" Mozart"> Mozart</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=tempo" title=" tempo"> tempo</a>, <a href="https://publications.waset.org/abstracts/search?q=sonata" title=" sonata"> sonata</a> </p> <a href="https://publications.waset.org/abstracts/192298/analysis-of-tempo-indications-segmentations-and-musical-ideas-in-mozarts-piano-sonatas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192298.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">25</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">24</span> The Evolution of the Piano Preludes by Focusing on Bach, Chopin and Debussy’s Work</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This document follows the development of the prelude genre by analyzing specific pieces from a representative selection of composer from Bach to Shostakovich in every era. The research aims to prove the existence of an evolutionary axis in the genre of prelude's history, which is believed to be fading. In this research, Bach, Chopin, and Debussy's works are demonstrated and explored by creating a definition of the genre on his own terms and having an impact on future composers in the following generations. Taking into account, the educational aspect of the prelude and its connection to the genre of study, a brief conversation about it is also provided with an assessment of shorter versions of the genre, for instance, Chopin's preludes. <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=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=prelude" title=" prelude"> prelude</a>, <a href="https://publications.waset.org/abstracts/search?q=Bach" title=" Bach"> Bach</a>, <a href="https://publications.waset.org/abstracts/search?q=Chopin" title=" Chopin"> Chopin</a>, <a href="https://publications.waset.org/abstracts/search?q=Debussy" title=" Debussy"> Debussy</a> </p> <a href="https://publications.waset.org/abstracts/186517/the-evolution-of-the-piano-preludes-by-focusing-on-bach-chopin-and-debussys-work" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186517.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">47</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">23</span> Variations and Fugue on an Ancient Taiwanese Music: The Art of Combining Taiwanese Traditional Music and Western Composition in Kuo Chih-Yuan's Piano Repertoire</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sheng-Wei%20Hsu">Sheng-Wei Hsu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Taiwanese composer Kuo Chih-Yuan (1921-2013) studied composition at Tokyo University of the Arts and was influenced by the musical nationalism prevailing in Japan at the time. Determined to create world-class contemporary works to represent Taiwan, he created music with elements of traditional Taiwanese music in ways that had not been done before. The aims of this study were to examine the traditional elements used in Kuo Chih-Yuan’s Variations and Fugue on an Ancient Taiwanese Music (1972), and how an understanding of these elements might guide pianists to interpret a more proper performance of his work was also presented in this study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Taiwanese%20traditional%20music" title="Taiwanese traditional music">Taiwanese traditional music</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20performance%20research" title=" piano performance research"> piano performance research</a>, <a href="https://publications.waset.org/abstracts/search?q=Kuo%20Chih-Yuan" title=" Kuo Chih-Yuan"> Kuo Chih-Yuan</a>, <a href="https://publications.waset.org/abstracts/search?q=fugue" title=" fugue"> fugue</a>, <a href="https://publications.waset.org/abstracts/search?q=variations" title=" variations"> variations</a> </p> <a href="https://publications.waset.org/abstracts/22461/variations-and-fugue-on-an-ancient-taiwanese-music-the-art-of-combining-taiwanese-traditional-music-and-western-composition-in-kuo-chih-yuans-piano-repertoire" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22461.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">502</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">22</span> Exploring How Online Applications Help Students to Learn Music Virtually: A Study in an Australian Music Academy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ali%20Shah">Ali Shah</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper outlines the case study experience of using a variety of online strategies in an Australian music academy context during covid times. The study aimed at exploring how online applications help students to learn music, specifically playing musical instruments, composing songs, and performing virtually. To explore this, music teachers’ perceptions and experiences regarding online learning, the teaching strategies they implemented, and the challenges they faced were examined. For the purpose of this study, a qualitative research structure was adopted through the use of three data collection tools. These methods included pre- and post-research individual interviews of teachers and students, analysis of their lesson plans, virtual classroom observations of the teachers followed by the researcher’sown reflections, post-observation discussions, and teachers’ reflective journals. The findings revealed that teachers had a theoretical understanding of virtual learning and recent musical application such as Flowkey, Skoove, and Piano marvel, which are benefits of e-learning. While teachers faced challenges in implementing strategies to teach keyboard/piano online, overall, both students and teachers felt the positive impact of online applications and strategies on their learning and felt that modern technology made it possible for anyone to take music lessons at home. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=keyboard" title=" keyboard"> keyboard</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=online%20learning" title=" online learning"> online learning</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20learning" title=" virtual learning"> virtual learning</a> </p> <a href="https://publications.waset.org/abstracts/158433/exploring-how-online-applications-help-students-to-learn-music-virtually-a-study-in-an-australian-music-academy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/158433.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">75</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">21</span> Music Education in Aged Care: Positive Ageing through Instrumental Music Learning</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ellina%20Zipman">Ellina Zipman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research investigates the place of music education in aged care facilities through the implementation of a program of regular piano lessons for residents. Using a qualitative case study methodology, the research explores aged care residents’ experiences in learning to play the piano. Since the aged care homes are unlikely places for formal learning and since older adults, especially in residential care, are not considered likely candidates for learning, this research opens the door for innovative and transformative thinking about where and to whom educational programs can be delivered. By addressing the educational needs of residents in aged care facilities, this research fills the gap in the literature. The research took place in Australia in two of Melbourne’s residential aged care facilities, engaging two residents (a nonagenarian female and an octogenarian male) to participate in 12-months weekly individual piano lessons. The data was collected through video recording of lessons, observations, interviews, emails, and a reflective journal. Data analysis was done using Nvivo and hard copy analysis with identifications of themes. The case studies revealed that passion for music was a major driver in participants’ motivation to engage in a long-term piano lessons program. This participation led to experiences of positive emotions, positive attitude, successes and challenges, the exercise of control, maintaining and building new relationships, improved self-confidence through autonomy and independent skills development, and discovering new identities through finding a new purpose and new roles in life. Speaking through participants’ voices, this research project demonstrates the importance of music education for older adults and hopes to influence transformation in the residential aged care sector. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adult%20music%20education" title="adult music education">adult music education</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=passion" title=" passion"> passion</a>, <a href="https://publications.waset.org/abstracts/search?q=positive%20ageing" title=" positive ageing"> positive ageing</a>, <a href="https://publications.waset.org/abstracts/search?q=wellbeing" title=" wellbeing"> wellbeing</a> </p> <a href="https://publications.waset.org/abstracts/154421/music-education-in-aged-care-positive-ageing-through-instrumental-music-learning" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/154421.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">87</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">20</span> Ariettes Oublieés of Claude Debussy: An Interpretive Approach of Two Songs of the Composer’s Compilation through a Comparative Study of Four Contemporary Recordings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Giannaki%20Natalia">Giannaki Natalia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study examines the songs compilation of Claude Debussy Ariettes Oublieés for voice and piano and especially the songs C’est l’extase langoureuse and Chevaux des bois of the compilation in order to present some interpretational suggestions for the singer and the piano accompanist for a more complete knowledge of the style of French singing of this period. First, the historical frame of the French song (in which this compilation is integrated) is introduced, as well as the historical frame of this work, and then, the most predominant interpretational parameters of the impressionistic French song are presented from testimonies of Claude Debussy and his contemporaries. Moreover, a brief analysis of the verses that turned into music by Debussy from the collection of poems by the famous French poet Paul Verlaine for subsequent interpretative suggestions is integrated into the research. The purpose of this work is not to elucidate the work from a harmonic or morphological point of view. Instead, this research primarily attempts to delve into performance issues through a comparison of four contemporary recordings of the work, from which it will be proved whether the principles of impressionism that were established are respected and how they affect these songs, as well as how much the personal viewpoint of each interpreter intervenes. The latter intends to fill the research gap in the interpretation of Debussy's songs and to guide the performers. To conclude, it will be discovered whether there is any recording closest to a French song’s interpretation principles and how a complete interpretation of a French song should be. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ariettes%20Oublie%C3%A9s" title="Ariettes Oublieés">Ariettes Oublieés</a>, <a href="https://publications.waset.org/abstracts/search?q=Claude%20Debussy" title=" Claude Debussy"> Claude Debussy</a>, <a href="https://publications.waset.org/abstracts/search?q=comparison" title=" comparison"> comparison</a>, <a href="https://publications.waset.org/abstracts/search?q=French%20song" title=" French song"> French song</a>, <a href="https://publications.waset.org/abstracts/search?q=impressionism" title=" impressionism"> impressionism</a>, <a href="https://publications.waset.org/abstracts/search?q=interpretation" title=" interpretation"> interpretation</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%20performance" title=" music performance"> music performance</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=recordings" title=" recordings"> recordings</a>, <a href="https://publications.waset.org/abstracts/search?q=singing" title=" singing"> singing</a>, <a href="https://publications.waset.org/abstracts/search?q=voice" title=" voice"> voice</a> </p> <a href="https://publications.waset.org/abstracts/171781/ariettes-oubliees-of-claude-debussy-an-interpretive-approach-of-two-songs-of-the-composers-compilation-through-a-comparative-study-of-four-contemporary-recordings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/171781.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">19</span> Emotional Skills and Musical Performance in the Elementary Music Education in Conservatoires: An Exploratory Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Emilia%20A.%20Campayo-Munoz">Emilia A. Campayo-Munoz</a>, <a href="https://publications.waset.org/abstracts/search?q=Alberto%20Cabedo-Mas"> Alberto Cabedo-Mas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music students have to face the challenges of musical practice -such as discipline in study, competitiveness, or performance anxiety- that require good emotional management to enable successful performance. However, few rigorous implementations focused on studying the influence of emotional skills in student's musical performance. Responding to this gap in the literature, this study aims to explore the relationship between emotional skills and musical performance in the context of elementary music education in conservatoires. Given the individual nature of the instrumental studies and the difficult availability of teachers to be trained in emotional education, it was decided to conduct a multiple case study in a Spanish music conservatoire. Author 1 carried out the implementation of the research with three 10-year-old students who were selected from her piano class. All of them attended the third year of their piano studies. The research processes consisted of the implementation of a set of specific and cross-sectional activities designed 'ad hoc' to be articulated in the subjects of individual instrument -piano- and ensemble in parallel to the contents of musical nature. The CE-360º questionnaire was used to measure different aspects of the students' emotional skills from a multi-angle perspective, each of the questionnaires being responded by oneself, three teachers and three peers, before and after the implementation. The data from the questionnaire were compared with the grades that the students obtained during the first and last quarter of the school year in the attended subjects. Acknowledging the complexity of emotional development, the results indicate possible relations between emotional skills and musical performance in music education in conservatoires. The results show that for the cases explored; there exists a relationship between emotional skills and musical performance. Although generalizations cannot be made, this study reinforces the need to further explore emotional development in instrumental teaching and suggest the importance of inviting teachers to reflect on the pedagogical practices extended in the conservatoires and to develop and implement those that promote the work of the students' emotions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=conservatoires" title="conservatoires">conservatoires</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20skills" title=" emotional skills"> emotional skills</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20performance" title=" musical performance"> musical performance</a> </p> <a href="https://publications.waset.org/abstracts/100919/emotional-skills-and-musical-performance-in-the-elementary-music-education-in-conservatoires-an-exploratory-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/100919.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">244</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">18</span> Effect of Acoustical Performance Detection and Evaluation in Music Practice Rooms on Teaching</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hsu-Hui%20Cheng">Hsu-Hui Cheng</a>, <a href="https://publications.waset.org/abstracts/search?q=Peng-Chian%20Chen"> Peng-Chian Chen</a>, <a href="https://publications.waset.org/abstracts/search?q=Shu-Yuan%20Chang"> Shu-Yuan Chang</a>, <a href="https://publications.waset.org/abstracts/search?q=Jie-Ying%20Zhang"> Jie-Ying Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Activities in the music practice rooms range from playing, listening, rehearsing to music performing. The good room acoustics in a music practice room enables a music teacher to teach more effectively subtle concepts such as intonation, articulation, balance, dynamics and tone production. A poor acoustical environment would deeply affect the development of basic musical skills of music students. Practicing in the music practice room is an essential daily activity for music students; consequently, music practice rooms are very important facilities in a music school or department. The purpose of this survey is to measure and analyze the acoustic condition of piano practice rooms at the department of music in Zhaoqing University and accordingly apply a more effective teaching method to music students. The volume of the music practice room is approximately 25 m³, and it has existing curtains and some wood hole sound-absorbing panels. When all small music practice rooms are in constant use for teaching, it was found that the values of the background noise at 45, 46, 42, 46, 45 dB(A) in the small music practice room ( the doors and windows were close), respectively. The noise levels in the small music practice room to higher than standard levels (35dB(A)). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=acoustical%20performance" title="acoustical performance">acoustical performance</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20practice%20room" title=" music practice room"> music practice room</a>, <a href="https://publications.waset.org/abstracts/search?q=noise%20level" title=" noise level"> noise level</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20room" title=" piano room"> piano room</a> </p> <a href="https://publications.waset.org/abstracts/138088/effect-of-acoustical-performance-detection-and-evaluation-in-music-practice-rooms-on-teaching" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138088.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">226</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">17</span> Development of a Novel Ankle-Foot Orthotic Using a User Centered Approach for Improved Satisfaction</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahlad%20Neti">Ahlad Neti</a>, <a href="https://publications.waset.org/abstracts/search?q=Elisa%20Arch"> Elisa Arch</a>, <a href="https://publications.waset.org/abstracts/search?q=Martha%20Hall"> Martha Hall</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Studies have shown that individuals who use Ankle-Foot-Orthoses (AFOs) have a high level of dissatisfaction regarding their current AFOs. Studies point to the focus on technical design with little attention given to the user perspective as a source of AFO designs that leave users dissatisfied. To design a new AFO that satisfies users and thereby improves their quality of life, the reasons for their dissatisfaction and their wants and needs for an improved AFO design must be identified. There has been little research into the user perspective on AFO use and desired improvements, so the relationship between AFO design and satisfaction in daily use must be assessed to develop appropriate metrics and constraints prior to designing a novel AFO. To assess the user perspective on AFO design, structured interviews were conducted with 7 individuals (average age of 64.29±8.81 years) who use AFOs. All interviews were transcribed and coded to identify common themes using Grounded Theory Method in NVivo 12. Qualitative analysis of these results identified sources of user dissatisfaction such as heaviness, bulk, and uncomfortable material and overall needs and wants for an AFO. Beyond the user perspective, certain objective factors must be considered in the construction of metrics and constraints to ensure that the AFO fulfills its medical purpose. These more objective metrics are rooted in a common medical device market and technical standards. Given the large body of research concerning these standards, these objective metrics and constraints were derived through a literature review. Through these two methods, a comprehensive list of metrics and constraints accounting for both the user perspective on AFO design and the AFO’s medical purpose was compiled. These metrics and constraints will establish the framework for designing a new AFO that carries out its medical purpose while also improving the user experience. The metrics can be categorized into several overarching areas for AFO improvement. Categories of user perspective related metrics include comfort, discreteness, aesthetics, ease of use, and compatibility with clothing. Categories of medical purpose related metrics include biomechanical functionality, durability, and affordability. These metrics were used to guide an iterative prototyping process. Six concepts were ideated and compared using system-level analysis. From these six concepts, two concepts – the piano wire model and the segmented model – were selected to move forward into prototyping. Evaluation of non-functional prototypes of the piano wire and segmented models determined that the piano wire model better fulfilled the metrics by offering increased stability, longer durability, fewer points for failure, and a strong enough core component to allow a sock to cover over the AFO while maintaining the overall structure. As such, the piano wire AFO has moved forward into the functional prototyping phase, and healthy subject testing is being designed and recruited to conduct design validation and verification. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ankle-foot%20orthotic" title="ankle-foot orthotic">ankle-foot orthotic</a>, <a href="https://publications.waset.org/abstracts/search?q=assistive%20technology" title=" assistive technology"> assistive technology</a>, <a href="https://publications.waset.org/abstracts/search?q=human%20centered%20design" title=" human centered design"> human centered design</a>, <a href="https://publications.waset.org/abstracts/search?q=medical%20devices" title=" medical devices"> medical devices</a> </p> <a href="https://publications.waset.org/abstracts/131581/development-of-a-novel-ankle-foot-orthotic-using-a-user-centered-approach-for-improved-satisfaction" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131581.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">156</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">16</span> Synthesis, Characterization and Biological Properties of Half-Sandwich Complexes of Ruthenium(II), Rhodium(II) and Iridium(III)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20Gilewska">A. Gilewska</a>, <a href="https://publications.waset.org/abstracts/search?q=J.%20Masternak"> J. Masternak</a>, <a href="https://publications.waset.org/abstracts/search?q=K.%20Kazimierczuk"> K. Kazimierczuk</a>, <a href="https://publications.waset.org/abstracts/search?q=L.%20Turlej"> L. Turlej</a>, <a href="https://publications.waset.org/abstracts/search?q=J.%20Wietrzyk"> J. Wietrzyk</a>, <a href="https://publications.waset.org/abstracts/search?q=B.%20Barszcz"> B. Barszcz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Platinum-based drugs are now widely used as chemotherapeutic agents. However the platinum complexes show the toxic side-effects: i) the development of platinum resistance; ii) the occurrence of severe side effects, such as nephro-, neuro- and ototoxicity; iii) the high toxicity towards human fibroblast. Therefore the development of new anticancer drugs containing different transition-metal ions, for example, ruthenium, rhodium, iridium is a valid strategy in cancer treatment. In this paper, we reported the synthesis, spectroscopic, structural and biological properties of complexes of ruthenium, rhodium, and iridium containing N,N-chelating ligand (2,2’-bisimidazole). These complexes were characterized by elemental analysis, UV-Vis and IR spectroscopy, X-ray diffraction analysis. These complexes exhibit a typical pseudotetrahedral three-legged piano-stool geometry, in which the aromatic arene ring forms the seat of the piano-stool, while the bidentate 2,2’-bisimidazole (ligand) and the one chlorido ligand form the three legs of the stool. The spectroscopy data (IR, UV-Vis) and elemental analysis correlate very well with molecular structures. Moreover, the cytotoxic activity of the complexes was carried out on human cancer cell lines: LoVo (colorectal adenoma), MV-4-11 (myelomonocytic leukaemia), MCF-7 (breast adenocarcinoma) and normal healthy mouse fibroblast BALB/3T3 cell lines. To predict a binding mode, a potential interaction of metal complexes with calf thymus DNA (CT-DNA) and protein (BSA) has been explored using UV absorption and circular dichroism (CD). It is interesting to note that the investigated complexes show no cytotoxic effect towards the normal BALB/3T3 cell line, compared to cisplatin, which IC₅₀ values was determined as 2.20 µM. Importantly, Ru(II) displayed the highest activity against HL-60 (IC₅₀ 4.35 µM). The biological studies (UV-Vis and circular dichroism) suggest that arene-complexes could interact with calf thymus DNA probably via an outside binding mode and interact with protein (BSA). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ruthenium%28II%29%20complex" title="ruthenium(II) complex">ruthenium(II) complex</a>, <a href="https://publications.waset.org/abstracts/search?q=rhodium%28III%29%20complex" title=" rhodium(III) complex"> rhodium(III) complex</a>, <a href="https://publications.waset.org/abstracts/search?q=iridium%28III%29%20complex" title=" iridium(III) complex"> iridium(III) complex</a>, <a href="https://publications.waset.org/abstracts/search?q=biological%20activity" title=" biological activity"> biological activity</a> </p> <a href="https://publications.waset.org/abstracts/104529/synthesis-characterization-and-biological-properties-of-half-sandwich-complexes-of-rutheniumii-rhodiumii-and-iridiumiii" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/104529.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">137</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15</span> The Emancipation of the Inland Areas Between Depopulation, Smart Community and Living Labs: A Case Study of Sardinia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Daniela%20Pisu">Daniela Pisu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper deals with the issue of territorial inequalities focused on the gap of the marginalization of inland areas with respect to the centrality of urban centers as they are subjected to an almost unstoppable demographic hemorrhage in a context marked by the tendency to depopulation such as the Sardinian territory, to which are added further and intense phenomena of de-anthropization. The research question is aimed at exploring the functionality of the interventions envisaged by the Piano Nazionale Ripresa Resilienza for the reduction of territorial imbalances in these areas to the extent that it is possible to identify policy strategies aimed at increasing the relational expertise of citizenship, functional to the consolidation of results in a long-term perspective. In order to answer this question, the qualitative case study on the Municipality of Ulàssai (province of Nuoro) is highlighted as the only winner on the island, with the Pilot Project ‘Where nature meets art’, intended for the cultural and social regeneration of small towns. The main findings, which emerged from the analysis of institutional sources and secondary data, highlight the socio-demographic fragility of the territory in the face of the active institutional commitment to make Ulàssai a smart community, starting from the enhancement of natural resources and the artistic heritage of fellow citizen Maria Lai. The findings drawn from the inspections and focus groups with the youth population present the aforementioned project as a generative opportunity for both the economic and social fabric, leveraging the public debates of the living labs, where the process of public communication becomes the main vector for the exercise of the rights of participatory democracy. The qualitative lunge leads to the conclusion that the repercussions envisaged by the PNRR in internal areas will be able to show their self-sustainable effect through colloquial administrations such as that of Ulàssai, capable of seeing in the interactive paradigm of public communication that natural process with which to reduce that historical sense of extraneousness attributed to the institution-citizenship relationship. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=social%20labs" title="social labs">social labs</a>, <a href="https://publications.waset.org/abstracts/search?q=smart%20community" title=" smart community"> smart community</a>, <a href="https://publications.waset.org/abstracts/search?q=depopulation" title=" depopulation"> depopulation</a>, <a href="https://publications.waset.org/abstracts/search?q=Sardinia" title=" Sardinia"> Sardinia</a>, <a href="https://publications.waset.org/abstracts/search?q=Piano%20Nazionale%20di%20Ripresa%20e%20Resilienza" title=" Piano Nazionale di Ripresa e Resilienza"> Piano Nazionale di Ripresa e Resilienza</a> </p> <a href="https://publications.waset.org/abstracts/185986/the-emancipation-of-the-inland-areas-between-depopulation-smart-community-and-living-labs-a-case-study-of-sardinia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185986.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">40</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">14</span> French Keyboard Music Evolution from Baroque to Impressionism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aesthetic characteristics of French keyboard music created during different time periods are examined through the utilization of compositional methods and the nurturing of specific musical styles. This article investigates the changes in style of keyboard compositions created by French musicians, starting from the initial stages from the mid-1700s to the early 1900s. It explores connections from the past and comparing the keyboard compositions of François Couperin and Jean-Philippe Rameau in the Baroque era to those of Gabriel Fauré, Claude Debussy, and Maurice Ravel in the Impressionist era. The evolution of keyboard music in France, particularly for the piano which was a new instrument at the time, was greatly influenced by the French revolution. Hence, we will delve into this topic further. The article examines the development of a specific French fashion trend of keyboard music that were composed during this time when there was an increasing emphasis on technical proficiency and expression of a fresh group of young French music creators. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=keyboard" title=" keyboard"> keyboard</a>, <a href="https://publications.waset.org/abstracts/search?q=baroque" title=" baroque"> baroque</a>, <a href="https://publications.waset.org/abstracts/search?q=impressionism" title=" impressionism"> impressionism</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/186721/french-keyboard-music-evolution-from-baroque-to-impressionism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186721.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">44</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">13</span> Preliminary Knowledge Extraction from Beethoven’s Sonatas: from Musical Referential Patterns to Emotional Normative Ratings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Christina%20Volioti">Christina Volioti</a>, <a href="https://publications.waset.org/abstracts/search?q=Sotiris%20Manitsaris"> Sotiris Manitsaris</a>, <a href="https://publications.waset.org/abstracts/search?q=Eleni%20Katsouli"> Eleni Katsouli</a>, <a href="https://publications.waset.org/abstracts/search?q=Vasiliki%20Tsekouropoulou"> Vasiliki Tsekouropoulou</a>, <a href="https://publications.waset.org/abstracts/search?q=Leontios%20J.%20Hadjileontiadis"> Leontios J. Hadjileontiadis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The piano sonatas of Beethoven represent part of the Intangible Cultural Heritage. The aims of this research were to further explore this intangibility by placing emphasis on defining emotional normative ratings for the “Waldstein” (Op. 53) and “Tempest” (Op. 31) Sonatas of Beethoven. To this end, a musicological analysis was conducted on these particular sonatas and referential patterns in these works of Beethoven were defined. Appropriate interactive questionnaires were designed in order to create a statistical normative rating that describes the emotional status when an individual listens to these musical excerpts. Based on these ratings, it is possible for emotional annotations for these same referential patterns to be created and integrated into the music score. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=emotional%20annotations" title="emotional annotations">emotional annotations</a>, <a href="https://publications.waset.org/abstracts/search?q=intangible%20cultural%20heritage" title=" intangible cultural heritage"> intangible cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=musicological%20analysis" title=" musicological analysis"> musicological analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=normative%20ratings" title=" normative ratings"> normative ratings</a> </p> <a href="https://publications.waset.org/abstracts/89504/preliminary-knowledge-extraction-from-beethovens-sonatas-from-musical-referential-patterns-to-emotional-normative-ratings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/89504.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">175</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12</span> Discarding or Correcting Outlier Scores vs. Excluding Outlier Jurors to Reduce Manipulation in Classical Music Competitions.</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Krzysztof%20Kontek">Krzysztof Kontek</a>, <a href="https://publications.waset.org/abstracts/search?q=Kevin%20Kenner"> Kevin Kenner</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper, written by an economist and pianist, aims to compare and analyze different methods of reducing manipulation in classical music competitions by focusing on outlier scores and outlier jurors. We first examine existing methods in competition practice and statistical literature for discarding or correcting jurors' scores that deviate significantly from the mean or median of all scores. We then introduce a method that involves eliminating all scores of outlier jurors, i.e., those jurors whose ratings significantly differ from those of other jurors. The properties of these standard and proposed methods are discussed in hypothetical voting scenarios, where one or more jurors assign scores that deviate considerably from the scores awarded by other jurors. Finally, we present examples of applying various methods to real-world data from piano competitions, demonstrating the potential effectiveness and implications of each approach in reducing manipulation within these events. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=voting%20systems" title="voting systems">voting systems</a>, <a href="https://publications.waset.org/abstracts/search?q=manipulation" title=" manipulation"> manipulation</a>, <a href="https://publications.waset.org/abstracts/search?q=outlier%20scores" title=" outlier scores"> outlier scores</a>, <a href="https://publications.waset.org/abstracts/search?q=outlier%20jurors" title=" outlier jurors"> outlier jurors</a> </p> <a href="https://publications.waset.org/abstracts/165256/discarding-or-correcting-outlier-scores-vs-excluding-outlier-jurors-to-reduce-manipulation-in-classical-music-competitions" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/165256.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">83</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11</span> Generating Music with More Refined Emotions</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shao-Di%20Feng">Shao-Di Feng</a>, <a href="https://publications.waset.org/abstracts/search?q=Von-Wun%20Soo"> Von-Wun Soo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> To generate symbolic music with specific emotions is a challenging task due to symbolic music datasets that have emotion labels are scarce and incomplete. This research aims to generate more refined emotions based on the training datasets that are only labeled with four quadrants in Russel’s 2D emotion model. We focus on the theory of Music Fadernet and map arousal and valence to the low-level attributes, and build a symbolic music generation model by combining transformer and GM-VAE. We adopt an in-attention mechanism for the model and improve it by allowing modulation by conditional information. And we show the music generation model could control the generation of music according to the emotions specified by users in terms of high-level linguistic expression and by manipulating their corresponding low-level musical attributes. Finally, we evaluate the model performance using a pre-trained emotion classifier against a pop piano midi dataset called EMOPIA, and by subjective listening evaluation, we demonstrate that the model could generate music with more refined emotions correctly. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20generation" title="music generation">music generation</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20emotion%20controlling" title=" music emotion controlling"> music emotion controlling</a>, <a href="https://publications.waset.org/abstracts/search?q=deep%20learning" title=" deep learning"> deep learning</a>, <a href="https://publications.waset.org/abstracts/search?q=semi-supervised%20learning" title=" semi-supervised learning"> semi-supervised learning</a> </p> <a href="https://publications.waset.org/abstracts/156710/generating-music-with-more-refined-emotions" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156710.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">89</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">10</span> Gold–M Heterobimetallic Complexes: Synthesis and Initial Reactivity Studies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Caroline%20Alice%20Rouget-Virbel">Caroline Alice Rouget-Virbel</a>, <a href="https://publications.waset.org/abstracts/search?q=F.%20Dean%20Toste"> F. Dean Toste</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Heterobimetallic systems have been precedented in a wide array of bioinorganic and heterogeneous catalytic settings, in which cooperative bond-breaking and bond-forming events mediated by neighboring metal sites have been proposed but are challenging to study and characterize. Heterodinuclear transition-metal catalysis has recently emerged as a promising strategy to tackle challenging chemical transformations, including C−C and C−X couplings as well as small molecule activation. It has been shown that these reactions can traverse nontraditional mechanisms, reactivities, and selectivities when homo- and heterobimetallic systems are employed. Moreover, stoichiometric studies of transmetallation from gold complexes have demonstrated that R transfer from PPh3–Au(I)R to Cp- and Cp*-ligated group 8/9 complexes is a viable elementary step. With these considerations in mind, we hypothesized that heterobimetallic Au–M complexes could serve as a viable and tunable catalyst platform to explore mechanisms and reactivity. In this work, heterobimetallic complexes containing Au(I) centers tethered to Ir(III) and Rh(III) piano stool moieties were synthesized and characterized. Preliminary application of these complexes to a catalytic allylic arylation reaction demonstrates bimetallic cooperativity relative to their monomeric metal components. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=heterobimetallic" title="heterobimetallic">heterobimetallic</a>, <a href="https://publications.waset.org/abstracts/search?q=catalysis" title=" catalysis"> catalysis</a>, <a href="https://publications.waset.org/abstracts/search?q=gold" title=" gold"> gold</a>, <a href="https://publications.waset.org/abstracts/search?q=rhodium" title=" rhodium"> rhodium</a> </p> <a href="https://publications.waset.org/abstracts/139787/gold-m-heterobimetallic-complexes-synthesis-and-initial-reactivity-studies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/139787.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">183</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">9</span> Teaching and Learning Jazz Improvisation Using Bloom's Taxonomy of Learning Domains</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Graham%20Wood">Graham Wood</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The 20th Century saw the introduction of many new approaches to music making, including the structured and academic study of jazz improvisation. The rise of many school and tertiary jazz programs was rapid and quickly spread around the globe in a matter of decades. It could be said that the curriculum taught in these new programs was often developed in an ad-hoc manner due to the lack of written literature in this new and rapidly expanding area and the vastly different pedagogical principles when compared to classical music education that was prevalent in school and tertiary programs. There is widespread information regarding the theory and techniques used by jazz improvisers, but methods to practice these concepts in order to achieve the best outcomes for students and teachers is much harder to find. This research project explores the authors’ experiences as a studio jazz piano teacher, ensemble teacher and classroom improvisation lecturer over fifteen years and suggests an alignment with Bloom’s taxonomy of learning domains. This alignment categorizes the different tasks that need to be taught and practiced in order for the teacher and the student to devise a well balanced and effective practice routine and for the teacher to develop an effective teaching program. These techniques have been very useful to the teacher and the student to ensure that a good balance of cognitive, psychomotor and affective skills are taught to the students in a range of learning contexts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=bloom" title="bloom">bloom</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=jazz" title=" jazz"> jazz</a>, <a href="https://publications.waset.org/abstracts/search?q=learning" title=" learning"> learning</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching" title=" teaching"> teaching</a> </p> <a href="https://publications.waset.org/abstracts/58359/teaching-and-learning-jazz-improvisation-using-blooms-taxonomy-of-learning-domains" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/58359.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">256</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=piano&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=piano&page=2" rel="next">&rsaquo;</a></li> </ul> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About 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