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video</title> <meta name="description" content="Search results for: music video"> <meta name="keywords" content="music video"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="music video"> <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> 1508</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: music video</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1508</span> Multimodal Convolutional Neural Network for Musical Instrument Recognition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yagya%20Raj%20Pandeya">Yagya Raj Pandeya</a>, <a href="https://publications.waset.org/abstracts/search?q=Joonwhoan%20Lee"> Joonwhoan Lee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The dynamic behavior of music and video makes it difficult to evaluate musical instrument playing in a video by computer system. Any television or film video clip with music information are rich sources for analyzing musical instruments using modern machine learning technologies. In this research, we integrate the audio and video information sources using convolutional neural network (CNN) and pass network learned features through recurrent neural network (RNN) to preserve the dynamic behaviors of audio and video. We use different pre-trained CNN for music and video feature extraction and then fine tune each model. The music network use 2D convolutional network and video network use 3D convolution (C3D). Finally, we concatenate each music and video feature by preserving the time varying features. The long short term memory (LSTM) network is used for long-term dynamic feature characterization and then use late fusion with generalized mean. The proposed network performs better performance to recognize the musical instrument using audio-video multimodal neural network. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multimodal" title="multimodal">multimodal</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20convolution" title=" 3D convolution"> 3D convolution</a>, <a href="https://publications.waset.org/abstracts/search?q=music-video%20feature%20extraction" title=" music-video feature extraction"> music-video feature extraction</a>, <a href="https://publications.waset.org/abstracts/search?q=generalized%20mean" title=" generalized mean"> generalized mean</a> </p> <a href="https://publications.waset.org/abstracts/104041/multimodal-convolutional-neural-network-for-musical-instrument-recognition" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/104041.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">215</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">1507</span> Digital Musical Organology: The Audio Games: The Question of “A-Musicological” Interfaces</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Herv%C3%A9%20Z%C3%A9nouda">Hervé Zénouda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article seeks to shed light on an emerging creative field: "Audio games," at the crossroads between video games and computer music. Indeed, many applications, which propose entertaining audio-visual experiences with the objective of musical creation, are available today for different supports (game consoles, computers, cell phones). The originality of this field is the use of the gameplay of video games applied to music composition. Thus, composing music using interfaces but also cognitive logics that we qualify as "a-musicological" seem to us particularly interesting from the perspective of musical digital organology. This field raises questions about the representation of sound and musical structures and develops new instrumental gestures and strategies of musical composition. We will try in this article to define the characteristics of this field by highlighting some historical milestones (abstract cinema, game theory in music, actions, and graphic scores) as well as the novelties brought by digital technologies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audio-games" title="audio-games">audio-games</a>, <a href="https://publications.waset.org/abstracts/search?q=video%20games" title=" video games"> video games</a>, <a href="https://publications.waset.org/abstracts/search?q=computer%20generated%20music" title=" computer generated music"> computer generated music</a>, <a href="https://publications.waset.org/abstracts/search?q=gameplay" title=" gameplay"> gameplay</a>, <a href="https://publications.waset.org/abstracts/search?q=interactivity" title=" interactivity"> interactivity</a>, <a href="https://publications.waset.org/abstracts/search?q=synesthesia" title=" synesthesia"> synesthesia</a>, <a href="https://publications.waset.org/abstracts/search?q=sound%20interfaces" title=" sound interfaces"> sound interfaces</a>, <a href="https://publications.waset.org/abstracts/search?q=relationships%20image%2Fsound" title=" relationships image/sound"> relationships image/sound</a>, <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20music" title=" audiovisual music"> audiovisual music</a> </p> <a href="https://publications.waset.org/abstracts/152518/digital-musical-organology-the-audio-games-the-question-of-a-musicological-interfaces" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152518.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">112</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1506</span> Youths, Gender and Media Portrayal: An Examination of the Relationship between Youths’ Perceptions and the Perceived Portrayal of Female Artistes in Nigerian Hip Hop Music Videos </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aminat%20Sheriff%20Owolabi">Aminat Sheriff Owolabi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study focused on what and how viewers perceive female portrayal in Nigerian Hip Hop music video based on scholars’ submission that Hip Hop music video is one of the media contents that objectifies women the most. However, this study examined how female artistes are portrayed sexually in Nigerian Hip Hop music videos. A model was developed in this study to examine the relationship between viewers’ perceptions and female portrayal in Nigerian Hip Hop music videos and from this model; three hypotheses were formulated and tested. Objectification theory of the psychology was also used to examine the manner at which women are portrayed in Nigerian Hip Hop Music as well as the relationship between the perceived portrayal and viewers’ perceptions. Survey research method was equally employed to gather data from 300 undergraduates in Kwara State and two Nigerian Hip Hop music producers who form the population of this study. From the result of the analyzed data and the tested hypotheses, it was discovered that there is a significant relationship between portrayal of female artistes in Nigerian Hip Hop music and viewers’ perception. As part of the suggestions, further study should include examination of how other media content portrays women. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20artistes" title="female artistes">female artistes</a>, <a href="https://publications.waset.org/abstracts/search?q=Hip%20Hop" title=" Hip Hop"> Hip Hop</a>, <a href="https://publications.waset.org/abstracts/search?q=objectification" title=" objectification"> objectification</a>, <a href="https://publications.waset.org/abstracts/search?q=portrayal" title=" portrayal"> portrayal</a> </p> <a href="https://publications.waset.org/abstracts/56925/youths-gender-and-media-portrayal-an-examination-of-the-relationship-between-youths-perceptions-and-the-perceived-portrayal-of-female-artistes-in-nigerian-hip-hop-music-videos" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/56925.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">280</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">1505</span> A Semiotic Approach to the Construction of Classical Identity in Indian Classical Music Videos</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jayakrishnan%20Narayanan">Jayakrishnan Narayanan</a>, <a href="https://publications.waset.org/abstracts/search?q=Sengamalam%20Periyasamy%20Dhanavel"> Sengamalam Periyasamy Dhanavel </a> </p> <p class="card-text"><strong>Abstract:</strong></p> Indian classical (Karnatik) music videos across various media platforms have followed an audio-visual pattern that conforms to its socio-cultural and quasi-religious identity. The present paper analyzes the semiotic variations between ‘pure Karnatik music videos’ and ‘independent/contemporary-collaborative music videos’ posted on social media by young professional Karnatik musicians. The paper analyzes these media texts by comparing their various structural sememes namely, the title, artists, music, narrative schemata, visuals, lighting, sound, and costumes. The paper argues that the pure Karnatik music videos are marked by the presence of certain recurring mythological or third level signifiers and that these signifiers and codes are marked by their conspicuous absence in the independent music videos produced by the same musicians. While the music and the musical instruments used in both these sets of music videos remain similar, the meaning that is abducted by the beholder in each case is entirely different. The paper also attempts to study the identity conflicts that are projected through these music videos and the extent to which the cultural connotations of Karnatik music govern the production of its music videos. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=abduction" title="abduction">abduction</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=media%20semiotics" title=" media semiotics"> media semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20video" title=" music video"> music video</a> </p> <a href="https://publications.waset.org/abstracts/98472/a-semiotic-approach-to-the-construction-of-classical-identity-in-indian-classical-music-videos" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98472.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">222</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">1504</span> A Comparison of Proxemics and Postural Head Movements during Pop Music versus Matched Music Videos</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Harry%20J.%20Witchel">Harry J. Witchel</a>, <a href="https://publications.waset.org/abstracts/search?q=James%20Ackah"> James Ackah</a>, <a href="https://publications.waset.org/abstracts/search?q=Carlos%20P.%20Santos"> Carlos P. Santos</a>, <a href="https://publications.waset.org/abstracts/search?q=Nachiappan%20Chockalingam"> Nachiappan Chockalingam</a>, <a href="https://publications.waset.org/abstracts/search?q=Carina%20E.%20I.%20Westling"> Carina E. I. Westling</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: Proxemics is the study of how people perceive and use space. It is commonly proposed that when people like or engage with a person/object, they will move slightly closer to it, often quite subtly and subconsciously. Music videos are known to add entertainment value to a pop song. Our hypothesis was that by adding appropriately matched video to a pop song, it would lead to a net approach of the head to the monitor screen compared to simply listening to an audio-only version of the song. Methods: We presented to 27 participants (ages 21.00 ± 2.89, 15 female) seated in front of 47.5 x 27 cm monitor two musical stimuli in a counterbalanced order; all stimuli were based on music videos by the band OK Go: Here It Goes Again (HIGA, boredom ratings (0-100) = 15.00 ± 4.76, mean ± SEM, standard-error-of-the-mean) and Do What You Want (DWYW, boredom ratings = 23.93 ± 5.98), which did not differ in boredom elicited (P = 0.21, rank-sum test). Each participant experienced each song only once, and one song (counterbalanced) as audio-only versus the other song as a music video. The movement was measured by video-tracking using Kinovea 0.8, based on recording from a lateral aspect; before beginning, each participant had a reflective motion tracking marker placed on the outer canthus of the left eye. Analysis of the Kinovea X-Y coordinate output in comma-separated-variables format was performed in Matlab, as were non-parametric statistical tests. Results: We found that the audio-only stimuli (combined for both HIGA and DWYW, mean ± SEM, 35.71 ± 5.36) were significantly more boring than the music video versions (19.46 ± 3.83, P = 0.0066 Wilcoxon Signed Rank Test (WSRT), Cohen's d = 0.658, N = 28). We also found that participants' heads moved around twice as much during the audio-only versions (speed = 0.590 ± 0.095 mm/sec) compared to the video versions (0.301 ± 0.063 mm/sec, P = 0.00077, WSRT). However, the participants' mean head-to-screen distances were not detectably smaller (i.e. head closer to the screen) during the music videos (74.4 ± 1.8 cm) compared to the audio-only stimuli (73.9 ± 1.8 cm, P = 0.37, WSRT). If anything, during the audio-only condition, they were slightly closer. Interestingly, the ranges of the head-to-screen distances were smaller during the music video (8.6 ± 1.4 cm) compared to the audio-only (12.9 ± 1.7 cm, P = 0.0057, WSRT), the standard deviations were also smaller (P = 0.0027, WSRT), and their heads were held 7 mm higher (video 116.1 ± 0.8 vs. audio-only 116.8 ± 0.8 cm above floor, P = 0.049, WSRT). Discussion: As predicted, sitting and listening to experimenter-selected pop music was more boring than when the music was accompanied by a matched, professionally-made video. However, we did not find that the proxemics of the situation led to approaching the screen. Instead, adding video led to efforts to control the head to a more central and upright viewing position and to suppress head fidgeting. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=boredom" title="boredom">boredom</a>, <a href="https://publications.waset.org/abstracts/search?q=engagement" title=" engagement"> engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20videos" title=" music videos"> music videos</a>, <a href="https://publications.waset.org/abstracts/search?q=posture" title=" posture"> posture</a>, <a href="https://publications.waset.org/abstracts/search?q=proxemics" title=" proxemics"> proxemics</a> </p> <a href="https://publications.waset.org/abstracts/110738/a-comparison-of-proxemics-and-postural-head-movements-during-pop-music-versus-matched-music-videos" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/110738.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">167</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">1503</span> Piracy Killed the Radio Star: A System Archetype Analysis of Digital Music Theft</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Marton%20Gergely">Marton Gergely</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Digital experience goods, such as music and video, are readily available and easily accessible through a sundry of illegal mediums. Furthermore, the rate of music theft has been increasing at a seemingly unstoppable rate. Instead of studying the effect of copyright infringement on affected shareholders, this paper aims to examine the overall impact that digital music piracy has on society as a whole. Through a systems dynamics approach, an archetype is built to model the behavior of both legal and illegal music users. Additionally, the effects over time are considered. The conceptual model suggests that if piracy continues to grow at the current pace, industry shareholders will eventually lose the motivation to supply new music. In turn, this tragedy would affect not only the illegal players, but legal consumers as well, by means of a decrease in overall quality of life. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20piracy" title="music piracy">music piracy</a>, <a href="https://publications.waset.org/abstracts/search?q=illegal%20downloading" title=" illegal downloading"> illegal downloading</a>, <a href="https://publications.waset.org/abstracts/search?q=tragedy%20of%20the%20commons" title=" tragedy of the commons"> tragedy of the commons</a>, <a href="https://publications.waset.org/abstracts/search?q=system%20archetypes" title=" system archetypes"> system archetypes</a> </p> <a href="https://publications.waset.org/abstracts/42258/piracy-killed-the-radio-star-a-system-archetype-analysis-of-digital-music-theft" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/42258.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">357</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">1502</span> Realization Mode and Theory for Extensible Music Cognition Education: Taking Children's Music Education as an Example</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yumeng%20He">Yumeng He</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this paper is to establish the “extenics” of children music education, the “extenics” thought and methods are introduced into the children music education field. Discussions are made from the perspective of children music education on how to generate new music cognitive from music cognitive, how to generate new music education from music education and how to generate music learning from music learning. The research methods including the extensibility of music art, extensibility of music education, extensibility of music capability and extensibility of music learning. Results of this study indicate that the thought and research methods of children’s extended music education not only have developed the “extenics” concept and ideological methods, meanwhile, the brand-new thought and innovative research perspective have been employed in discussing the children music education. As indicated in research, the children’s extended music education has extended the horizon of children music education, and has endowed the children music education field with a new thought and research method. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=comprehensive%20evaluations" title="comprehensive evaluations">comprehensive evaluations</a>, <a href="https://publications.waset.org/abstracts/search?q=extension%20thought" title=" extension thought"> extension thought</a>, <a href="https://publications.waset.org/abstracts/search?q=extension%20cognition%20music%20education" title=" extension cognition music education"> extension cognition music education</a>, <a href="https://publications.waset.org/abstracts/search?q=extensibility" title=" extensibility"> extensibility</a> </p> <a href="https://publications.waset.org/abstracts/104068/realization-mode-and-theory-for-extensible-music-cognition-education-taking-childrens-music-education-as-an-example" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/104068.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">225</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1501</span> The Functions of the Student Voice and Student-Centred Teaching Practices in Classroom-Based Music Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sofia%20Douklia">Sofia Douklia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present context paper aims to present the important role of ‘student voice’ and the music teacher in the classroom, which contributes to more student-centered music education. The aim is to focus on the functions of the student voice through the music spectrum, which has been born in the music classroom, and the teacher’s methodologies and techniques used in the music classroom. The music curriculum, the principles of student-centered music education, and the role of students and teachers as music ambassadors have been considered the major music parameters of student voice. The student- voice is a worth-mentioning aspect of a student-centered education, and all teachers should consider and promote its existence in their classroom. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=student%27s%20voice" title="student's voice">student's voice</a>, <a href="https://publications.waset.org/abstracts/search?q=student-centered%20education" title=" student-centered education"> student-centered education</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20ambassadors" title=" music ambassadors"> music ambassadors</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20teachers" title=" music teachers"> music teachers</a> </p> <a href="https://publications.waset.org/abstracts/155423/the-functions-of-the-student-voice-and-student-centred-teaching-practices-in-classroom-based-music-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155423.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">91</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1500</span> H.263 Based Video Transceiver for Wireless Camera System</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Won-Ho%20Kim">Won-Ho Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, a design of H.263 based wireless video transceiver is presented for wireless camera system. It uses standard WIFI transceiver and the covering area is up to 100m. Furthermore the standard H.263 video encoding technique is used for video compression since wireless video transmitter is unable to transmit high capacity raw data in real time and the implemented system is capable of streaming at speed of less than 1Mbps using NTSC 720x480 video. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=wireless%20video%20transceiver" title="wireless video transceiver">wireless video transceiver</a>, <a href="https://publications.waset.org/abstracts/search?q=video%20surveillance%20camera" title=" video surveillance camera"> video surveillance camera</a>, <a href="https://publications.waset.org/abstracts/search?q=H.263%20video%20encoding%20digital%20signal%20processing" title=" H.263 video encoding digital signal processing"> H.263 video encoding digital signal processing</a> </p> <a href="https://publications.waset.org/abstracts/12951/h263-based-video-transceiver-for-wireless-camera-system" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12951.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">364</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">1499</span> The Role of Student Culture in Beginning Music Teachers’ Instruction in Urban School Settings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kiana%20Williams">Kiana Williams</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this case study was to examine beginning music teachers’ perspectives of cultural relevance in relation to music instruction in urban school settings within a large Southwestern city. Research questions focused on the role of student culture in beginning music teachers’ instruction. Data were collected based on Seidman’s (2013) three interview series, consisting of audio recordings from two semi-structured individual interviews for each participant, a 15-20-minute video recording from each participant teaching in their classroom, and an audio recording of one focus group interview. Participants included three beginning music teachers currently employed in urban schools in a major metropolitan city in the Southern United States. In this study, a teacher was considered a beginning teacher if they had zero to three years of experience teaching music in urban school settings. The results revealed three broad themes related to connectivity and relatability, concerts, and differentiated instruction. Implications for current music educators as well as music teacher educators in higher education are included in this study. Further research should consider examining the effect of culturally relevant pedagogy on student retention in urban school music programs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture" title="culture">culture</a>, <a href="https://publications.waset.org/abstracts/search?q=instruction" title=" instruction"> instruction</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=pedagogy" title=" pedagogy"> pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=teacher" title=" teacher"> teacher</a>, <a href="https://publications.waset.org/abstracts/search?q=urban" title=" urban"> urban</a> </p> <a href="https://publications.waset.org/abstracts/135256/the-role-of-student-culture-in-beginning-music-teachers-instruction-in-urban-school-settings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135256.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">139</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1498</span> The Multi-Sensory Teaching Practice for Primary Music Classroom in China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xiao%20Liulingzi">Xiao Liulingzi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It is important for using multi-sensory teaching in music learning. This article aims to provide knowledge in multi-sensory learning and teaching music in primary school. For primary school students, in addition to the training of basic knowledge and skills of music, students' sense of participation and creativity in music class are the key requirements, especially the flexibility and dynamics in music class, so that students can integrate into music and feel the music. The article explains the multi-sensory sense in music learning, the differences between multi-sensory music teaching and traditional music teaching, and music multi-sensory teaching in primary schools in China. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multi-sensory" title="multi-sensory">multi-sensory</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching%20practice" title=" teaching practice"> teaching practice</a>, <a href="https://publications.waset.org/abstracts/search?q=primary%20music%20classroom" title=" primary music classroom"> primary music classroom</a>, <a href="https://publications.waset.org/abstracts/search?q=China" title=" China"> China</a> </p> <a href="https://publications.waset.org/abstracts/159646/the-multi-sensory-teaching-practice-for-primary-music-classroom-in-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/159646.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">130</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1497</span> Extraction of Text Subtitles in Multimedia Systems</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amarjit%20Singh">Amarjit Singh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, a method for extraction of text subtitles in large video is proposed. The video data needs to be annotated for many multimedia applications. Text is incorporated in digital video for the motive of providing useful information about that video. So need arises to detect text present in video to understanding and video indexing. This is achieved in two steps. First step is text localization and the second step is text verification. The method of text detection can be extended to text recognition which finds applications in automatic video indexing; video annotation and content based video retrieval. The method has been tested on various types of videos. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=video" title="video">video</a>, <a href="https://publications.waset.org/abstracts/search?q=subtitles" title=" subtitles"> subtitles</a>, <a href="https://publications.waset.org/abstracts/search?q=extraction" title=" extraction"> extraction</a>, <a href="https://publications.waset.org/abstracts/search?q=annotation" title=" annotation"> annotation</a>, <a href="https://publications.waset.org/abstracts/search?q=frames" title=" frames"> frames</a> </p> <a href="https://publications.waset.org/abstracts/24441/extraction-of-text-subtitles-in-multimedia-systems" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/24441.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">601</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">1496</span> Motivational Qualities of and Flow State Responses to Participant-Selected Music and Researcher-Selected Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nurul%20A.%20Hamzah">Nurul A. Hamzah</a>, <a href="https://publications.waset.org/abstracts/search?q=Tony%20Morris"> Tony Morris</a>, <a href="https://publications.waset.org/abstracts/search?q=Dan%20Van%20Der%20Westhuizen"> Dan Van Der Westhuizen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music listening can potentially promote the achievement of flow state during exercise. Selecting music for exercise should consider the motivational factors-internal factors (music tempo and musicality) and external factors (cultural impact and association). This study was a cross-over study which was designed to examine the motivational qualities of music (participant-selected music and researcher-selected music) and flow state responses during exercise accompanying with music. 17 healthy participants (M=30.2, SD=6.3 years old) were among low physical activity individuals. Participants completed two separate sessions of 30 minutes of moderate intensity exercise (40-60% of Heart Rate Reserve) while listening to music. Half the participants at random were assigned to exercise with participant-selected music first, and half were assigned to exercise with researcher-selected music first. Parameters including flow state responses (Flow State Scale-2) and motivational music rating (Brunel Music Rating Inventory-2) were administered immediately after the exercise. Results from this study showed that there were no significant differences for both flow state t(32)=0.00, p>0.05 and motivational music rating t(32)= .393, p>0.05 between exercise with participant-selected music and exercise with researcher-selected music. Listening to music either participant or researcher selected music could promote flow experience during exercise when music is perceived as motivational. Music tempo and music preference are factors that could influence individuals to enjoy exercise and improve the exercise performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=motivational%20music" title="motivational music">motivational music</a>, <a href="https://publications.waset.org/abstracts/search?q=flow%20state" title=" flow state"> flow state</a>, <a href="https://publications.waset.org/abstracts/search?q=researcher-selected%20music" title=" researcher-selected music"> researcher-selected music</a>, <a href="https://publications.waset.org/abstracts/search?q=participant-selected%20music" title=" participant-selected music"> participant-selected music</a> </p> <a href="https://publications.waset.org/abstracts/50776/motivational-qualities-of-and-flow-state-responses-to-participant-selected-music-and-researcher-selected-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/50776.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">384</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1495</span> Wearable Music: Generation of Costumes from Music and Generative Art and Wearing Them by 3-Way Projectors</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Noriki%20Amano">Noriki Amano</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The final goal of this study is to create another way in which people enjoy music through the performance of 'Wearable Music'. Concretely speaking, we generate colorful costumes in real- time from music and to realize their dressing by projecting them to a person. For this purpose, we propose three methods in this study. First, a method of giving color to music in a three-dimensionally way. Second, a method of generating images of costumes from music. Third, a method of wearing the images of music. In particular, this study stands out from other related work in that we generate images of unique costumes from music and realize to wear them. In this study, we use the technique of generative arts to generate images of unique costumes and project the images to the fog generated around a person from 3-way using projectors. From this study, we can get how to enjoy music as 'wearable'. Furthermore, we are also able to have the prospect of unconventional entertainment based on the fusion between music and costumes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=entertainment%20computing" title="entertainment computing">entertainment computing</a>, <a href="https://publications.waset.org/abstracts/search?q=costumes" title=" costumes"> costumes</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=generative%20programming" title=" generative programming"> generative programming</a> </p> <a href="https://publications.waset.org/abstracts/98352/wearable-music-generation-of-costumes-from-music-and-generative-art-and-wearing-them-by-3-way-projectors" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98352.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">173</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1494</span> Video Summarization: Techniques and Applications</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zaynab%20El%20Khattabi">Zaynab El Khattabi</a>, <a href="https://publications.waset.org/abstracts/search?q=Youness%20Tabii"> Youness Tabii</a>, <a href="https://publications.waset.org/abstracts/search?q=Abdelhamid%20Benkaddour"> Abdelhamid Benkaddour</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nowadays, huge amount of multimedia repositories make the browsing, retrieval and delivery of video contents very slow and even difficult tasks. Video summarization has been proposed to improve faster browsing of large video collections and more efficient content indexing and access. In this paper, we focus on approaches to video summarization. The video summaries can be generated in many different forms. However, two fundamentals ways to generate summaries are static and dynamic. We present different techniques for each mode in the literature and describe some features used for generating video summaries. We conclude with perspective for further research. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=video%20summarization" title="video summarization">video summarization</a>, <a href="https://publications.waset.org/abstracts/search?q=static%20summarization" title=" static summarization"> static summarization</a>, <a href="https://publications.waset.org/abstracts/search?q=video%20skimming" title=" video skimming"> video skimming</a>, <a href="https://publications.waset.org/abstracts/search?q=semantic%20features" title=" semantic features"> semantic features</a> </p> <a href="https://publications.waset.org/abstracts/27644/video-summarization-techniques-and-applications" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/27644.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">401</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">1493</span> The Musical Imagination: Re-Imagining a Sound Education through Musical Boundary Play</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michael%20J.%20Cutler">Michael J. Cutler</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents what musical boundary play can look like when beginning music learners work with professional musicians with an emphasis on composition. Music education can be re-imagined through the lenses of boundary objects and boundary play by engaging non-professional musicians in collaborative sound creation, improvisation and composition along with professional musicians. To the author’s best knowledge, no similar study exists on boundary objects and boundary play in music education. The literature reviewed for this paper explores the epistemological perspectives connected to music education and situates musical boundary play as an alternative approach to the more prevalent paradigms of music education in K-12 settings. A qualitative multiple-case study design was chosen to seek an in-depth understanding of the role of boundary objects and musical boundary play. The constant comparative method was utilized in analyzing and interpreting the data resulting in the development of effective, transferable theory. The study gathered relevant data using audio and video recordings of musical boundary play, artifacts, interviews, and observations. Findings from this study offer insight into the development of a more inclusive music education and yield a pedagogical framework for music education based on musical boundary play. Through the facilitation of musical boundary play, it is possible for music learners to experience musical sound creation, improvisation and composition in the same way an instrumentalist or vocalist would without the acquisition of complex component operations required to play a traditional instrument or sing in a proficient manner. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=boundary%20play" title="boundary play">boundary play</a>, <a href="https://publications.waset.org/abstracts/search?q=boundary%20objects" title=" boundary objects"> boundary objects</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=music%20pedagogy" title=" music pedagogy"> music pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20boundary%20play" title=" musical boundary play"> musical boundary play</a> </p> <a href="https://publications.waset.org/abstracts/125491/the-musical-imagination-re-imagining-a-sound-education-through-musical-boundary-play" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/125491.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">126</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">1492</span> Content Based Video Retrieval System Using Principal Object Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Van%20Thinh%20Bui">Van Thinh Bui</a>, <a href="https://publications.waset.org/abstracts/search?q=Anh%20Tuan%20Tran"> Anh Tuan Tran</a>, <a href="https://publications.waset.org/abstracts/search?q=Quoc%20Viet%20Ngo"> Quoc Viet Ngo</a>, <a href="https://publications.waset.org/abstracts/search?q=The%20Bao%20Pham"> The Bao Pham</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Video retrieval is a searching problem on videos or clips based on content in which they are relatively close to an input image or video. The application of this retrieval consists of selecting video in a folder or recognizing a human in security camera. However, some recent approaches have been in challenging problem due to the diversity of video types, frame transitions and camera positions. Besides, that an appropriate measures is selected for the problem is a question. In order to overcome all obstacles, we propose a content-based video retrieval system in some main steps resulting in a good performance. From a main video, we process extracting keyframes and principal objects using Segmentation of Aggregating Superpixels (SAS) algorithm. After that, Speeded Up Robust Features (SURF) are selected from those principal objects. Then, the model “Bag-of-words” in accompanied by SVM classification are applied to obtain the retrieval result. Our system is performed on over 300 videos in diversity from music, history, movie, sports, and natural scene to TV program show. The performance is evaluated in promising comparison to the other approaches. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=video%20retrieval" title="video retrieval">video retrieval</a>, <a href="https://publications.waset.org/abstracts/search?q=principal%20objects" title=" principal objects"> principal objects</a>, <a href="https://publications.waset.org/abstracts/search?q=keyframe" title=" keyframe"> keyframe</a>, <a href="https://publications.waset.org/abstracts/search?q=segmentation%20of%20aggregating%20superpixels" title=" segmentation of aggregating superpixels"> segmentation of aggregating superpixels</a>, <a href="https://publications.waset.org/abstracts/search?q=speeded%20up%20robust%20features" title=" speeded up robust features"> speeded up robust features</a>, <a href="https://publications.waset.org/abstracts/search?q=bag-of-words" title=" bag-of-words"> bag-of-words</a>, <a href="https://publications.waset.org/abstracts/search?q=SVM" title=" SVM"> SVM</a> </p> <a href="https://publications.waset.org/abstracts/59753/content-based-video-retrieval-system-using-principal-object-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/59753.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">301</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">1491</span> Analyzing the Perceptions of Emotions in Aesthetic Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abigail%20Wiafe">Abigail Wiafe</a>, <a href="https://publications.waset.org/abstracts/search?q=Charles%20Nutrokpor"> Charles Nutrokpor</a>, <a href="https://publications.waset.org/abstracts/search?q=Adelaide%20Oduro-Asante"> Adelaide Oduro-Asante</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The advancement of technology is rapidly making people more receptive to music as computer-generated music requires minimal human interventions. Though algorithms are applied to generate music, the human experience of emotions is still explored. Thus, this study investigates the emotions humans experience listening to computer-generated music that possesses aesthetic qualities. Forty-two subjects participated in the survey. The selection process was purely arbitrary since it was based on convenience. Subjects listened and evaluated the emotions experienced from the computer-generated music through an online questionnaire. The Likert scale was used to rate the emotional levels after the music listening experience. The findings suggest that computer-generated music possesses aesthetic qualities that do not affect subjects' emotions as long as they are pleased with the music. Furthermore, computer-generated music has unique creativity, and expressioneven though the music produced is meaningless, the computational models developed are unable to present emotional contents in music as humans do. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aesthetic" title="aesthetic">aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=algorithms" title=" algorithms"> algorithms</a>, <a href="https://publications.waset.org/abstracts/search?q=emotions" title=" emotions"> emotions</a>, <a href="https://publications.waset.org/abstracts/search?q=computer-generated%20music" title=" computer-generated music"> computer-generated music</a> </p> <a href="https://publications.waset.org/abstracts/148498/analyzing-the-perceptions-of-emotions-in-aesthetic-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/148498.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">136</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">1490</span> Non-Fungible Token (NFT) - Used in the Music Industry for Independent Artists without a Music Recording Label</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bartholomew%20Badar">Bartholomew Badar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> An NFT is a digital certificate with rights to own an asset, including various valuable digital goods such as art pieces, music items, collectibles, etc. The market for NFTs started developing in 2017 and has lately seen increased growth as crypto-currencies and the blockchain market continue to gain popularity. This study aims to understand potential uses for NFTs concerning the music industry and record labels. Independent artists struggle to distribute and sell their music without the help of a record label. The NFT marketplace could be a great tool to eliminate this problem. The research objective is to identify possibilities for independent artists to own their music rights and share value with an audience. We see a trend of new-school music artists trying to enter the music NFT market by creating visualizers, beats, cover art, etc. To analyze various existing music NFT assets and determine whether or not independent artists could monetize their music without a record label is the main focus of this scholarly paper. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=blockchain" title="blockchain">blockchain</a>, <a href="https://publications.waset.org/abstracts/search?q=crypto-currency" title=" crypto-currency"> crypto-currency</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=artist" title=" artist"> artist</a>, <a href="https://publications.waset.org/abstracts/search?q=NFT" title=" NFT"> NFT</a> </p> <a href="https://publications.waset.org/abstracts/144397/non-fungible-token-nft-used-in-the-music-industry-for-independent-artists-without-a-music-recording-label" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/144397.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">177</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1489</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">1488</span> Music Aptitude and School Readiness in Indonesian Children</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Diella%20Gracia%20Martauli">Diella Gracia Martauli</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigated the relationship between music aptitude and school readiness in Indonesian children. Music aptitude is described as children’s music potential, whereas school readiness is defined as a condition in which a child is deemed ready to enter the formal education system. This study presents a hypothesis that music aptitude is correlated with school readiness. This is a correlational research study of 17 children aged 5-6 years old (<em>M </em>= 6.10, <em>SD </em>= 0.33) who were enrolled in a kindergarten school in Jakarta, Indonesia. Music aptitude scores were obtained from Primary Measures of Music Audiation, whereas School readiness scores were obtained from Bracken School Readiness Assessment Third Edition. The analysis of the data was performed using Pearson Correlation. The result found no correlation between music aptitude and school readiness (<em>r </em>= 0.196, <em>p </em>= 0.452). Discussions regarding the results, perspective from the measures and cultures are presented. Further study is recommended to establish links between music aptitude and school readiness. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=BSRA" title="BSRA">BSRA</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20aptitude" title=" music aptitude"> music aptitude</a>, <a href="https://publications.waset.org/abstracts/search?q=PMMA" title=" PMMA"> PMMA</a>, <a href="https://publications.waset.org/abstracts/search?q=school%20readiness" title=" school readiness"> school readiness</a> </p> <a href="https://publications.waset.org/abstracts/108912/music-aptitude-and-school-readiness-in-indonesian-children" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/108912.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">144</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">1487</span> Music Note Detection and Dictionary Generation from Music Sheet Using Image Processing Techniques</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Ammar">Muhammad Ammar</a>, <a href="https://publications.waset.org/abstracts/search?q=Talha%20Ali"> Talha Ali</a>, <a href="https://publications.waset.org/abstracts/search?q=Abdul%20Basit"> Abdul Basit</a>, <a href="https://publications.waset.org/abstracts/search?q=Bakhtawar%20Rajput"> Bakhtawar Rajput</a>, <a href="https://publications.waset.org/abstracts/search?q=Zobia%20Sohail"> Zobia Sohail</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music note detection is an area of study for the past few years and has its own influence in music file generation from sheet music. We proposed a method to detect music notes on sheet music using basic thresholding and blob detection. Subsequently, we created a notes dictionary using a semi-supervised learning approach. After notes detection, for each test image, the new symbols are added to the dictionary. This makes the notes detection semi-automatic. The experiments are done on images from a dataset and also on the captured images. The developed approach showed almost 100% accuracy on the dataset images, whereas varying results have been seen on captured images. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20note" title="music note">music note</a>, <a href="https://publications.waset.org/abstracts/search?q=sheet%20music" title=" sheet music"> sheet music</a>, <a href="https://publications.waset.org/abstracts/search?q=optical%20music%20recognition" title=" optical music recognition"> optical music recognition</a>, <a href="https://publications.waset.org/abstracts/search?q=blob%20detection" title=" blob detection"> blob detection</a>, <a href="https://publications.waset.org/abstracts/search?q=thresholding" title=" thresholding"> thresholding</a>, <a href="https://publications.waset.org/abstracts/search?q=dictionary%20generation" title=" dictionary generation"> dictionary generation</a> </p> <a href="https://publications.waset.org/abstracts/133670/music-note-detection-and-dictionary-generation-from-music-sheet-using-image-processing-techniques" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133670.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">181</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1486</span> Using Music: An Effective Medium of Teaching Vocabulary in ESL Classroom</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Takwa%20Jahan">Takwa Jahan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music can be used in ESL classroom to create a learning environment. As literature abounds with positive statements, music can be used as a vehicle for second language acquisition. Music can be applied as an instrument to help second language learners to acquire vocabulary, grammar, spelling and other four skills and to expand cultural knowledge. Vocabulary learning is perceived boring by learners. As listening to music and singing songs are enjoyable to students, it can be used effectively to acquire vocabulary in second language. This paper reports a study to find out how music exhilarates vocabulary acquisition as the learners stay relaxed and thus learning becomes more enjoyable. For conducting my research two groups of fifty students- music and non-music group were formed. Data were collected through class observation, test, questionnaires, and interview. The finding shows that music group acquired much amount of vocabulary than the non-music group. They enjoyed vocabulary learning activities based on listening songs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=effective%20instrument" title="effective instrument">effective instrument</a>, <a href="https://publications.waset.org/abstracts/search?q=ESL%20classroom" title=" ESL classroom"> ESL classroom</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=relax%20environment" title=" relax environment"> relax environment</a>, <a href="https://publications.waset.org/abstracts/search?q=vocabulary%20learning" title=" vocabulary learning"> vocabulary learning</a> </p> <a href="https://publications.waset.org/abstracts/67012/using-music-an-effective-medium-of-teaching-vocabulary-in-esl-classroom" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67012.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">372</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1485</span> Lines for a Different Approach in Music Education: A Review of the Concept of Musicality</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Emmanuel%20Carlos%20De%20Mata%20Castrej%C3%B3n">Emmanuel Carlos De Mata Castrejón</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music education has shown to be connected to many areas of sciences and arts, it has also been associated with several facets of human life. The many aspects around the study of music and education, make very difficult for the music educator to find a way through, even though there are lots of methods of teaching music to young children, they are different between one another and so are the students. For the music to help improve children’s development, it is necessary for the children to explore their musicality as they explore their creativity; it must be a challenging, playful, and enjoyable activity. The purpose of this investigation is to focus the music education not in the music, nor the teaching, but the children to be guided through their own musicality. The first approach to this kind of music education comes from the Active learning methods during the nineteenth century, most of which are still used around the world, sometimes with modifications to fit a certain place or type of students. This approach on children’s musicality requires some knowledge of music, pedagogy, and developmental psychology at least, but more important than the theory or the method used for music education, the focus should be on developing the student’s musicality, considering the complexity of this concept. To get this, it is needed, indeed, far more research in the topic, so this is a call for collaborative research and for interdisciplinary teams to emerge. This is a review of authors and methods in music education trying to trace a line pointing to transdisciplinary work and pursuing the development of children’s musicality. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=children" title="children">children</a>, <a href="https://publications.waset.org/abstracts/search?q=methods" title=" methods"> methods</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a>, <a href="https://publications.waset.org/abstracts/search?q=musicality" title=" musicality"> musicality</a> </p> <a href="https://publications.waset.org/abstracts/71797/lines-for-a-different-approach-in-music-education-a-review-of-the-concept-of-musicality" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71797.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">332</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1484</span> Mapping the Sonic Spectrum of Traditional Music and Instruments Used in Malaysian Kavadi Rituals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ainolnaim%20Azizol">Ainolnaim Azizol</a>, <a href="https://publications.waset.org/abstracts/search?q=Valerie%20Ross"> Valerie Ross</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music is as old as mankind and rituals using music such as Kavadi have been associated with social, cultural, and spiritual practices in many traditional and modern societies. Recent literature has provided scientific evidence that music affects psychological and physical changes through stimulation of brainwave. Despite such advances, the scientific study of the sonic qualities peculiar to traditional instruments and how it impacts on ritualistic activities is still lacking. This study addresses one such phenomenon. Devotees in Kavadi rituals are known to be in a state of trance state and do not experience pain nor suffer injury despite the hundreds of needles pierced through their skins. Although scientists have sought to understand how this is possible, lesser is known about the music that is used to prepare devotees to enter into the trance state. This study fills this gap of knowledge by providing scientific evidence through the identification and mapping of the sonic spectrum or sound fingerprint of the instruments and the repertoire used in these ritualistic forms in their ethnographic environment and in audio-controlled situations. The objectives are to identify and categorize the different types of traditional music used in Kavadi rituals; to record, transcribe and digitally score the musical repertoire used in the oral tradition of Kavadi rituals; to map the sonic spectrum of ritual music using spectromography and advanced music analytical software a mixed methodology will be used. This comprises ethnographic field studies using interviews, participant observation, audio-video recordings and audio-methodology using spectromography and advanced audio-technology for sonic mapping and the transcription of audio recordings into digital scores. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sonic" title="sonic">sonic</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional" title=" traditional"> traditional</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=Kavadi" title=" Kavadi"> Kavadi</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a> </p> <a href="https://publications.waset.org/abstracts/54012/mapping-the-sonic-spectrum-of-traditional-music-and-instruments-used-in-malaysian-kavadi-rituals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/54012.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">242</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">1483</span> A Study of the Use of English by Thai: A Case Study of English in Thai songs </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jutharat%20Nawarungreung">Jutharat Nawarungreung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As an international language, English is used as a medium in formal and informal settings including all kinds of entertainment. As it were, the use of English in such an arena is of no less importance and interest, and indeed it becomes a valuable tool for EFL learners to learn and improve their language. In addition, it is a social perspective in the way that English is incorporated in other nationalities’ music, as well as the attitudes of listeners toward it. This research principally aimed to find out the level of comprehensibility of English inserted in Thai pop music. There were three groups of participants, namely Thais, non-native speakers who are non-Thai and native speakers, 35 each group. The research tools comprised song lyrics, interviews, questionnaires, and video recorder. The participants listened to Thai songs and wrote down the English words and their meanings they heard. They were video-recorded when listening to the songs, and then asked on particular actions and facial expressions. Afterwards, they were interviewed to account for their attitudes toward the incorporation of English into Thai songs. Finally, the participants completed a questionnaire. Data was analysed by the way of comparison of all the participants’ pronunciation. In doing so, the number of correct and incorrect answers was revealed. The study has shown that those who attained the highest level of understanding the English words in Thai music were Thais, native speakers, and non-native speakers who are non-Thai respectively. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=English%20throughout%20the%20world" title="English throughout the world">English throughout the world</a>, <a href="https://publications.waset.org/abstracts/search?q=varieties%20of%20English" title=" varieties of English"> varieties of English</a>, <a href="https://publications.waset.org/abstracts/search?q=English%20in%20Thai%20songs" title=" English in Thai songs"> English in Thai songs</a>, <a href="https://publications.waset.org/abstracts/search?q=intelligibility" title=" intelligibility"> intelligibility</a>, <a href="https://publications.waset.org/abstracts/search?q=attitudes" title=" attitudes"> attitudes</a> </p> <a href="https://publications.waset.org/abstracts/39447/a-study-of-the-use-of-english-by-thai-a-case-study-of-english-in-thai-songs" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/39447.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">354</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1482</span> Incorporating Popular Nigerian Music into the School Curriculum: A Potential for National Development</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=David%20O.%20A.%20Ogunrinade">David O. A. Ogunrinade</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The significance of education to the growth and development of man is imperative. The Nigerian education philosophy and national objectives are geared towards self-realization, social, cultural, and economic, just to mention a few. The acquisition of skills and abilities, both mental and physical, for individual to live and contribute to the development of society should be of major importance to a functional education curriculum. This study specifically set out to examine the momentous potentials of popular music as a veritable tool to be properly incorporated into the curriculum of music education in Nigeria. This will equip the learners to be self-reliant and contribute to the national economy. Interviews with exponents of Nigerian popular music and the stakeholders in the music industry, as well as audio-visual materials were employed to elicit information. Findings reveal that there are lots of potentials and dexterities in popular music that can enable Nigerian music graduates to contribute their own quota to the national development of the nation, as well as being useful to themselves. If the Nigerian society is not to be plagued by a breed of unemployable youths who could not raise the economic productivity of the country, it is deemed pertinent that the music curriculum as one of the vocational education needs to be reviewed to incorporate popular music, as well as to reflect more of the Nigerian cultural heritage. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=popular%20music" title="popular music">popular music</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20curriculum" title=" music curriculum"> music curriculum</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20in%20schools" title=" music in schools"> music in schools</a>, <a href="https://publications.waset.org/abstracts/search?q=popular%20music%20prospect" title=" popular music prospect"> popular music prospect</a> </p> <a href="https://publications.waset.org/abstracts/114140/incorporating-popular-nigerian-music-into-the-school-curriculum-a-potential-for-national-development" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/114140.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">161</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1481</span> The Operating Results of the English General Music Course on the Education Platform</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shan-Ken%20Chine">Shan-Ken Chine</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research aims to a one-year course run of String Music Appreciation, an international online course launched on the British open education platform. It explains how to present music teaching videos with three main features. They are music lesson explanations, instrumental playing demonstrations, and live music performances. The plan of this course is with four major themes and a total of 97 steps. In addition, the paper also uses the testing data provided by the education platform to analyze the performance of learners and to understand the operation of the course. It contains three test data in the statistics dashboard. They are course-run measures, total statistics, and statistics by week. The paper ends with a review of the course's star rating in this one-year run. The result of this course run will be adjusted when it starts again in the future. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20online%20courses" title="music online courses">music online courses</a>, <a href="https://publications.waset.org/abstracts/search?q=MOOCs" title=" MOOCs"> MOOCs</a>, <a href="https://publications.waset.org/abstracts/search?q=ubiquitous%20learning" title=" ubiquitous learning"> ubiquitous learning</a>, <a href="https://publications.waset.org/abstracts/search?q=string%20music" title=" string music"> string music</a>, <a href="https://publications.waset.org/abstracts/search?q=general%20music%20education" title=" general music education"> general music education</a> </p> <a href="https://publications.waset.org/abstracts/186110/the-operating-results-of-the-english-general-music-course-on-the-education-platform" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186110.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">37</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1480</span> Machines Hacking Humans: Performances Practices in Electronic Music during the 21st Century</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zimasa%20Siyasanga%20Gysman">Zimasa Siyasanga Gysman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper assesses the history of electronic music and its performance to illustrate that machines and technology have largely influenced how humans perform electronic music. The history of electronic music mainly focuses on the composition and production of electronic music with little to no attention paid to its performance by the majority of scholars in this field. Therefore, establishing a history of performance involves investigating what compositions of electronic music called for in the production of electronic music performance. This investigation into seminal works in the history of electronic music, therefore, illustrates the aesthetics of electronic music performance and the aesthetics established in the very beginnings of electronic music performance demonstrate the aesthetics of electronic music which are still prevalent today. The key aesthetics are the repurposing of technology and the hybridisation of technology. Performers take familiar technology (technology that society has become accustomed to using in daily life), not necessarily related to music or performance and use it as an instrument in their performances, such as a rotary dial telephone. Likewise, since the beginnings of electronic music, producers have always experimented with the latest technologies available to them in their compositions and performances. The spirit of performers of electronic music, therefore, revolves around repurposing familiar technologies and using them in new ways, whilst similarly experimenting with new technologies in their performances. This process of hybridisation plays a key role in the production and performance of electronic music in the twentieth century. Through various interviews with performers of electronic music, it is shown that these aesthetics are driving performance practices in the twenty-first century. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=body" title="body">body</a>, <a href="https://publications.waset.org/abstracts/search?q=hybridisation" title=" hybridisation"> hybridisation</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=sound" title=" sound"> sound</a> </p> <a href="https://publications.waset.org/abstracts/102904/machines-hacking-humans-performances-practices-in-electronic-music-during-the-21st-century" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102904.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">161</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1479</span> A Correlation Analysis of an Effective Music Education with Students’ Mathematical Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yoon%20Suh%20Song">Yoon Suh Song</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Though music education can broaden one’s capacity for mathematical performance, many countries lag behind in music education. Little empirical evidence is found to identify the connection between math and music. Therefore, this research was set out to explore what music-related variables are associated with mathematical performance. The result of our analysis is as follows: A Pearson's Correlation analysis revealed that PISA math score is strongly correlated with students' Intelligence Quotient (IQ). This lays the foundation for further research as to what factors in students’ IQ lead to a better performance in math. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20education" title="music education">music education</a>, <a href="https://publications.waset.org/abstracts/search?q=mathematical%20performance" title=" mathematical performance"> mathematical performance</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=IQ" title=" IQ"> IQ</a> </p> <a href="https://publications.waset.org/abstracts/97551/a-correlation-analysis-of-an-effective-music-education-with-students-mathematical-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/97551.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right 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