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music</title> <meta name="description" content="Search results for: world music"> <meta name="keywords" content="world music"> <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="world music"> <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> 8197</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: world music</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">8197</span> Cognition Technique for Developing a World Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Haider%20Javed%20Uppal">Haider Javed Uppal</a>, <a href="https://publications.waset.org/abstracts/search?q=Javed%20Yunas%20Uppal"> Javed Yunas Uppal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In today's globalized world, it is necessary to develop a form of music that is able to evoke equal emotional responses among people from diverse cultural backgrounds. Indigenous cultures throughout history have developed their own music cognition, specifically in terms of the connections between music and mood. With the advancements in artificial intelligence technologies, it has become possible to analyze and categorize music features such as timbre, harmony, melody, and rhythm and relate them to the resulting mood effects experienced by listeners. This paper presents a model that utilizes a screenshot translator to convert music from different origins into waveforms, which are then analyzed using machine learning and information retrieval techniques. By connecting these waveforms with Thayer's matrix of moods, a mood classifier has been developed using fuzzy logic algorithms to determine the emotional impact of different types of music on listeners from various cultures. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cognition" title="cognition">cognition</a>, <a href="https://publications.waset.org/abstracts/search?q=world%20music" title=" world music"> world music</a>, <a href="https://publications.waset.org/abstracts/search?q=artificial%20intelligence" title=" artificial intelligence"> artificial intelligence</a>, <a href="https://publications.waset.org/abstracts/search?q=Thayer%E2%80%99s%20matrix" title=" Thayer’s matrix"> Thayer’s matrix</a> </p> <a href="https://publications.waset.org/abstracts/170445/cognition-technique-for-developing-a-world-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170445.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">81</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">8196</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">8195</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">8194</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">8193</span> Analyzing Music Theory in Different Countries: Compare with Greece and China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Baoshan%20Wang">Baoshan Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present study investigates how music theory has developed across different countries due to their diverse histories, religions, and cultural differences. It is unknown how these various factors may contribute to differences in music theory across countries. Therefore, we examine the differences between China and Greece, which have developed unique music theories over time. Specifically, our analysis looks at musical notation and scales. For example, Tonal music originates from Greece, which harbors quite complex notation and scaling. There exist seven notes in each scale within seven modes of scales. Each mode of the diatonic scale has a unique temperament, two of which are most commonly used in modern music. In contrast, we find that Chinese music has only five notes in its scales. Interestingly, a unique feature of Chinese music theory is that there is no half-step, resulting in a highly divergent and culture-specific sound. Fascinatingly, these differences may arise from the contrasting ways that Western and Eastern musicians perceive music. While Western musicians tend to believe in music “without borders,” Eastern musicians generally embrace differing perspectives. Yet, the vast majority of colleges or music conservatories teach the borderless theory of Western music, which renders the music educational system incomplete. This is critically important because learning music is not simply a profession for musicians. Rather, it is an intermediary to facilitate understanding and appreciation for different countries’ cultures and religions. Education is undoubtedly the optimal mode to promote different countries’ music theory so people across the world can learn more about music and, in turn, each other. Even though Western music theory is predominantly taught, it is crucial we also pursue an understanding of other countries’ music because their unique aspects contribute to the systematic completeness of Music Theory in its entirety. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture" title="culture">culture</a>, <a href="https://publications.waset.org/abstracts/search?q=development" title=" development"> development</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20theory" title=" music theory"> music theory</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20history" title=" music history"> music history</a>, <a href="https://publications.waset.org/abstracts/search?q=religion" title=" religion"> religion</a>, <a href="https://publications.waset.org/abstracts/search?q=western%20music" title=" western music"> western music</a> </p> <a href="https://publications.waset.org/abstracts/156725/analyzing-music-theory-in-different-countries-compare-with-greece-and-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156725.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">94</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">8192</span> Role of Music Education as a Pillar in Sustainable Development of India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rohit%20Rutka">Rohit Rutka</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of the present paper is to reveal the importance of music as an indispensable aspect in education of art, with regard to every single culture which serves as indisputable support to sustainable development in India. Indian system of education is one of the oldest systems of the world. Both secular and sacred education was handed over systematically by formalizing the system of education. We have found significant growth in the system of education in our country since ancient times. It is a veritable avenue which enables societies to transmit music and musical skills from one generation to the upcoming ones. The research is based on a comprehensive literature review on the impact of music to sustainable development. This paper contextualized that music education is imperative to Sustainable Development, to the adult. It is a vital force of self-expression, communication and empowerment economically, in growing children, involvement in music education will promote their creative ability, thereby contribute to the full development of intellectual capacities, apt emotional development that gives the right values and feelings to various events and happenings, music helps to develop skills, innate and instinctive talent in human being and recommend that the informal music teaching should be incorporated into school system so as to transmit and preserve the cultural music and that the study of music should be made compulsory at all levels of the Indian educational system. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sustainable%20development" title="sustainable development">sustainable development</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=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20as%20a%20pillar%20to%20sustainable%20development" title=" music as a pillar to sustainable development "> music as a pillar to sustainable development </a> </p> <a href="https://publications.waset.org/abstracts/41501/role-of-music-education-as-a-pillar-in-sustainable-development-of-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41501.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">347</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">8191</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">8190</span> POP Music and Tai Chi – Movement and Stillness Intertwined in The Contemporary World</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Portugal%20Marques%20de%20Carvalho%20Louren%C3%A7o">Patricia Portugal Marques de Carvalho Lourenço</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Pop Music embodies both the music that is popular with the audiences and the one that is widespread amongst the general public associated with a state of mind and rhythm. Tai Chi epitomises Yin and Yang, two interconnected opposite states of being. Undivided, they are one, a neutral state of consciousness that does not swing to either pole. It remains constant and even minded. Sound flows and vibrations cause movement, a physical response to the tempo. When an excessive movement is reached leads to stillness therefore, extreme Yang leads to Yin. Pop Music and Tai Chi are comparable to state of inner being versus a state of outer being, emotional control versus emotional expression, stillness, and movement; opposites that are independent of one another yet interdependent concepts in motion. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pop%20music" title="Pop music">Pop music</a>, <a href="https://publications.waset.org/abstracts/search?q=C-Pop" title=" C-Pop"> C-Pop</a>, <a href="https://publications.waset.org/abstracts/search?q=Tai%20Chi" title=" Tai Chi"> Tai Chi</a>, <a href="https://publications.waset.org/abstracts/search?q=Ba%20Gua" title=" Ba Gua"> Ba Gua</a>, <a href="https://publications.waset.org/abstracts/search?q=communication" title=" communication"> communication</a>, <a href="https://publications.waset.org/abstracts/search?q=entertainment%20education" title=" entertainment education"> entertainment education</a> </p> <a href="https://publications.waset.org/abstracts/148595/pop-music-and-tai-chi-movement-and-stillness-intertwined-in-the-contemporary-world" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/148595.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">238</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">8189</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">8188</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">8187</span> A Conceptual Framework for Integrating Musical Instrument Digital Interface Composition in the Music Classroom</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aditi%20Kashi">Aditi Kashi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> While educational technologies have taken great strides, especially in Musical Instrument Digital Interface (MIDI) composition, teachers across the world are still adjusting to incorporate such technology into their curricula. While using MIDI in the classroom has become more common, limited class time and a strong focus on performance have made composition a lesser priority. The balance between music theory, performance time, and composition learning is delicate and difficult to maintain for many music educators. This makes including MIDI in the classroom. To address this issue, this paper aims to outline a general conceptual framework centered around a key element of music theory to integrate MIDI composition into the music classroom to not only introduce students to digital composition but also enhance their understanding of music theory and its applicability. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=educational%20framework" title="educational framework">educational framework</a>, <a href="https://publications.waset.org/abstracts/search?q=education%20technology" title=" education technology"> education technology</a>, <a href="https://publications.waset.org/abstracts/search?q=MIDI" title=" MIDI"> MIDI</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a> </p> <a href="https://publications.waset.org/abstracts/155266/a-conceptual-framework-for-integrating-musical-instrument-digital-interface-composition-in-the-music-classroom" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155266.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">86</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">8186</span> Music for Peace, a Model for Socialization </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mina%20Fenercioglu">Mina Fenercioglu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study discusses a Turkish music education model similar to El Sistema. The Music for Peace (Baris icin Muzik) program, founded in 2005 by an idealist humanitarian in Istanbul, started as a pilot project with accordion and then with flute in ensembles at the Ulubatlı Hasan Primary School where mostly underprivileged children attend. The program gives complimentary music lessons particularly to deprived children, who at the beginning were prone to crime. With music education, the attitudes of the children turn to a positive aspect. The aim of this initiative provides social and cultural awareness, which serves the same mission as the world known El Sistema. In 2009, the Music for Peace project received Deutsche Bank Urban Age Award, which is a prize presented to enterprises that improve the quality of life in urban environment. Since 2010, the Music for Peace continues the symphonic music education at its own place. In 2011, Music for Peace gained foundation status, and started to accept donations as musical instruments for children who attend the courses. On July 2013, IKSV (Istanbul Culture and Arts Foundation) became the institutional partner of Music for Peace Foundation and in June 2014, the foundation signed up to join El Sistema’s global program. Now in 2015, the foundation has three ensembles: the Music for Peace Orchestra, which consists of two orchestras practicing and performing in different levels; the Music for Peace Chorus, which has joined Istanbul International Polyphonic Choruses Festival; and the recently established Music for Peace Brass Ensemble. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=El%20Sistema" title="El Sistema">El Sistema</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%20for%20peace" title=" music for peace"> music for peace</a>, <a href="https://publications.waset.org/abstracts/search?q=socialization" title=" socialization "> socialization </a> </p> <a href="https://publications.waset.org/abstracts/26472/music-for-peace-a-model-for-socialization" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26472.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">421</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">8185</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">8184</span> Getting Out of the Box: Tangible Music Production in the Age of Virtual Technological Abundance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tim%20Nikolsky">Tim Nikolsky</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper seeks to explore the different ways in which music producers choose to embrace various levels of technology based on musical values, objectives, affordability, access and workflow benefits. Current digital audio production workflow is questioned. Engineers and music producers of today are increasingly divorced from the tangibility of music production. Making music no longer requires you to reach over and turn a knob. Ideas of authenticity in music production are being redefined. Calculations from the mathematical algorithm with the pretty pictures are increasingly being chosen over hardware containing transformers and tubes. Are mouse clicks and movements equivalent or inferior to the master brush strokes we are seeking to conjure? We are making audio production decisions visually by constantly looking at a screen rather than listening. Have we compromised our music objectives and values by removing the ‘hands-on’ nature of music making? DAW interfaces are making our musical decisions for us not necessarily in our best interests. Technological innovation has presented opportunities as well as challenges for education. What do music production students actually need to learn in a formalised education environment, and to what extent do they need to know it? In this brave new world of omnipresent music creation tools, do we still need tangibility in music production? Interviews with prominent Australian music producers that work in a variety of fields will be featured in this paper, and will provide insight in answering these questions and move towards developing an understanding how tangibility can be rediscovered in the next generation of music production. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=analogue" title="analogue">analogue</a>, <a href="https://publications.waset.org/abstracts/search?q=digital" title=" digital"> digital</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20audio%20workstation" title=" digital audio workstation"> digital audio workstation</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20production" title=" music production"> music production</a>, <a href="https://publications.waset.org/abstracts/search?q=plugins" title=" plugins"> plugins</a>, <a href="https://publications.waset.org/abstracts/search?q=tangibility" title=" tangibility"> tangibility</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a>, <a href="https://publications.waset.org/abstracts/search?q=workflow" title=" workflow"> workflow</a> </p> <a href="https://publications.waset.org/abstracts/59040/getting-out-of-the-box-tangible-music-production-in-the-age-of-virtual-technological-abundance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/59040.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">271</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">8183</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">8182</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">8181</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">8180</span> Investigating Effect of Geometrical Proportions in Islamic Architecture and Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amir%20Hossein%20Allahdadi">Amir Hossein Allahdadi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The mystical and intuitive look of Islamic artists inspired by the Koranic and mystical principles and also based on the geometry and mathematics has left unique works whose range extends across the borders of Islam. The relationship between Islamic art and music in the traditional art is of one of the concepts that can be traced back to the other arts by detection of its components. One of the links is the art of painting whose subtleties that can be applicable to both architecture and music. So, architecture and music links can be traced in other arts with a traditional foundation in order to evaluate the equivalents of traditional arts. What is the relationship between physical space of architecture and nonphysical space of music? What is musical architecture? What is the music that tends to architecture? These questions are very small samples of the questions that arise in this category, and these questions and concerns remain as long as the music is played and the architecture is made. Efforts have been made in this area, references compiled and plans drawn. As an example, we can refer to views of ‘Mansour Falamaki’ in the book of architecture and music, as well as the book transition from mud to heart by ‘Hesamodin Seraj’. The method is such that a certain melody is given to an architect and it is tried to design a specified architecture using a certain theme. This study is not to follow the architecture of a particular type of music and the formation of a volume based on a sound. In this opportunity, it is tried to briefly review the relationship between music and architecture in the Iranian original and traditional arts, using the basic definitions of arts. The musician plays, the architect designs, the actor forms his desired space and painter displays his multi-dimensional world in the form of two-dimensions. The expression language is different, but all of them can be gathered in a form, a form which has no clear boundaries. In fact, in any original art, the artist applies his art as a tool to express his insights which are nothing but achieving the world beyond this place and time. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=architecture" title="architecture">architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=geometric%20proportions" title=" geometric proportions"> geometric proportions</a>, <a href="https://publications.waset.org/abstracts/search?q=mathematical%20proportions" title=" mathematical proportions"> mathematical proportions</a> </p> <a href="https://publications.waset.org/abstracts/45673/investigating-effect-of-geometrical-proportions-in-islamic-architecture-and-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/45673.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">8179</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">8178</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">8177</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">8176</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">8175</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">8174</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">8173</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">8172</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 rounded"> Downloads <span class="badge badge-light">212</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">8171</span> The Soundscape of Contemporary Buddhist Music in Taiwan: Tzu Chi Vesak Ceremony</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sylvia%20Huang">Sylvia Huang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Contemporary Buddhist music has been emerged at the new forms of large-scale public Buddhist ritual ceremonies that may involve up to 10,000 participants at a time. Since 2007, the Buddha’s Birthday ceremony (Sanskrit, Vesak) by the Buddhist Tzu Chi Foundation has being held at major cities in Taiwan and many affiliated Tzu Chi offices around the world. Analysis of this modern and technologically-dependent ceremony sheds new light on the significance of music in contemporary Buddhist ritual, and also on recently enhanced and increasingly intimate connections between music and Buddhism. Through extensive ethnographic research of ten years (2007-2017), the research explores how the form of contemporary Buddhist music relates to the role of music in participants’ experience of the ritual and the way in which they construct meaning. The theoretical approach draws on both ethnomusicology and Buddhist teachings, Dharma. As soundscape is defined as the entire sonic energy produced by a landscape, the concept of soundscape is utilised to examine the contemporary ritual music in the Tzu Chi Vesak ceremony. The analysis opens new territory in exploring how analysis of Buddhist music can benefit from incorporating Buddhist philosophy within the methodological approach. Main findings are: 1) music becomes a method for Buddhist understanding through a focus in particular on how the ceremonial program is followed by music, and 2) participants engage with each other and entrain with music in the Vesak ceremony. As Buddhist sounding, such as scripture reading, liturgical chanting, and ceremonial music singing, is a sonic epistemological knowing of the conditions in which Buddhism is practiced, experienced, and transmigrated, the research concludes by showing that studies of Buddhist music have the potential to reveal distinctively Buddhist concepts, meaning, and values. Certain principles of Buddhist philosophy are adopted within ethnomusicological analysis to further enhance understandings of the crucial function of music within such a ritual context. Finally, the contemporary Buddhist music performance in the ceremony is possessed as a means of direct access to the spiritual experience in Buddhism. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=buddhist%20music" title="buddhist music">buddhist music</a>, <a href="https://publications.waset.org/abstracts/search?q=Taiwan" title=" Taiwan"> Taiwan</a>, <a href="https://publications.waset.org/abstracts/search?q=soundscape" title=" soundscape"> soundscape</a>, <a href="https://publications.waset.org/abstracts/search?q=Vesak%20ceremony" title=" Vesak ceremony"> Vesak ceremony</a> </p> <a href="https://publications.waset.org/abstracts/96502/the-soundscape-of-contemporary-buddhist-music-in-taiwan-tzu-chi-vesak-ceremony" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96502.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">8170</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">8169</span> Teacher’s Perception of Dalcroze Method Course as Teacher’s Enhancement Course: A Case Study in Hong Kong</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ka%20Lei%20Au">Ka Lei Au</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Dalcroze method has been emerging in music classrooms, and music teachers are encouraged to integrate music and movement in their teaching. Music programs in colleges in Hong Kong have been introducing method courses such as Orff and Dalcroze method in music teaching as teacher’s education program. Since the targeted students of the course are music teachers who are making the decision of what approach to use in their classroom, their perception is significantly valued to identify how this approach is applicable in their teaching in regards to the teaching and learning culture and environment. This qualitative study aims to explore how the Dalcroze method as a teacher’s education course is perceived by music teachers from three aspects: 1) application in music teaching, 2) self-enhancement, 3) expectation. Through the lens of music teachers, data were collected from 30 music teachers who are taking the Dalcroze method course in music teaching in Hong Kong by the survey. The findings reveal the value and their intention of the Dalcroze method in Hong Kong. It also provides a significant reference for better development of such courses in the future in adaption to the culture, teaching and learning environment and teacher’s, student’s and parent’s perception of this approach. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dalcroze%20method" title="Dalcroze method">Dalcroze method</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20teaching" title=" music teaching"> music teaching</a>, <a href="https://publications.waset.org/abstracts/search?q=perception" title=" perception"> perception</a>, <a href="https://publications.waset.org/abstracts/search?q=self-enhancement" title=" self-enhancement"> self-enhancement</a>, <a href="https://publications.waset.org/abstracts/search?q=teacher%E2%80%99s%20education" title=" teacher’s education"> teacher’s education</a> </p> <a href="https://publications.waset.org/abstracts/146561/teachers-perception-of-dalcroze-method-course-as-teachers-enhancement-course-a-case-study-in-hong-kong" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146561.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">404</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">8168</span> Technology, Music Education, and Social-Emotional Learning in Latin America</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jinan%20Laurentia%20Woo">Jinan Laurentia Woo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores the intersection of technology, music education, and social-emotional learning (SEL) with a focus on Latin America. It delves into the impact of music education on social-emotional skills development, highlighting the universal significance of music across various life stages. The integration of artificial intelligence (AI) in music education is discussed, emphasizing its potential to enhance learning experiences. The paper also examines the implementation of SEL strategies in Latin American public schools, emphasizing the importance of fostering social-emotional well-being in educational settings. Challenges such as unequal access to technology and education in the region are addressed, calling for further research and investment in tech-assisted music education. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20education" title="music education">music education</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20emotional%20learning" title=" social emotional learning"> social emotional learning</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20technology" title=" educational technology"> educational technology</a>, <a href="https://publications.waset.org/abstracts/search?q=Latin%20America" title=" Latin America"> Latin America</a>, <a href="https://publications.waset.org/abstracts/search?q=artificial%20intelligence" title=" artificial intelligence"> artificial intelligence</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a> </p> <a href="https://publications.waset.org/abstracts/183500/technology-music-education-and-social-emotional-learning-in-latin-america" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/183500.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">59</span> </span> </div> </div> <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=world%20music&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=world%20music&page=3">3</a></li> <li class="page-item"><a class="page-link" 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