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polyphonic</title> <meta name="description" content="Search results for: polyphonic"> <meta name="keywords" content="polyphonic"> <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 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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="polyphonic"> <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> 16</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: polyphonic</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">16</span> Applying Polyphonic Dialogue as an Approach to Thematically Analyse the Development of Online Identities in Social Media</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Maryam%20Khosronejad">Maryam Khosronejad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In social media, differences between individuals become salient as they become a member of different groups with particular social and cultural practices and get engaged in various conversations. The influence of the presence of social media on the promotion of self-expression and polyphonic dialogue is an understudied area and is, therefore, the focus of this paper. This exploration aims to understand the formation of online identities as an ongoing process of orchestrating polyphonic dialogue and responding to available positions. In addition, applying the thematic analysis, it gives examples of how discursive transactions facilitate this process. The implications for the use of social media in education will be discussed based on the findings. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=online%20identity" title="online identity">online identity</a>, <a href="https://publications.waset.org/abstracts/search?q=polyphonic%20dialogue" title=" polyphonic dialogue"> polyphonic dialogue</a>, <a href="https://publications.waset.org/abstracts/search?q=self%20expression" title=" self expression"> self expression</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20media" title=" social media"> social media</a> </p> <a href="https://publications.waset.org/abstracts/81654/applying-polyphonic-dialogue-as-an-approach-to-thematically-analyse-the-development-of-online-identities-in-social-media" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81654.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">15</span> Exploring Polyphonic Texture in Chopin's Piano Works</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Frederic Chopin created numerous acclaimed piano compositions that have been both appreciated and analyzed by musicians starting from the Romantic Period. These compositions are still being played globally with specific privileges among pianists. This study examines particular elements within Chopin's piano works and how they can be interpreted and instructed to those who are not acquainted with his pieces. The theory suggests that particular melodic attributes can be found in Chopin's piano compositions. Therefore, various elements can be recognized, such as polyphonic textures, decorated phrases, themes and variations, inner patterns tuning, blending harmonics, and conflicting beats. These characteristics were discovered within theoretical analysis has identified many of Chopin's compositions. The aim of this study is to identify the musical characteristics of analyzable through music theory and demonstrate a distinctive pianistic polyphonic texture in Chopin's solo piano compositions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chopin" title="Chopin">Chopin</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=composition" title=" composition"> composition</a>, <a href="https://publications.waset.org/abstracts/search?q=polyphonic" title=" polyphonic"> polyphonic</a>, <a href="https://publications.waset.org/abstracts/search?q=texture" title=" texture"> texture</a> </p> <a href="https://publications.waset.org/abstracts/187039/exploring-polyphonic-texture-in-chopins-piano-works" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187039.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">35</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">14</span> Musical Instrument Recognition in Polyphonic Audio Through Convolutional Neural Networks and Spectrograms</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rujia%20Chen">Rujia Chen</a>, <a href="https://publications.waset.org/abstracts/search?q=Akbar%20Ghobakhlou"> Akbar Ghobakhlou</a>, <a href="https://publications.waset.org/abstracts/search?q=Ajit%20Narayanan"> Ajit Narayanan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigates the task of identifying musical instruments in polyphonic compositions using Convolutional Neural Networks (CNNs) from spectrogram inputs, focusing on binary classification. The model showed promising results, with an accuracy of 97% on solo instrument recognition. When applied to polyphonic combinations of 1 to 10 instruments, the overall accuracy was 64%, reflecting the increasing challenge with larger ensembles. These findings contribute to the field of Music Information Retrieval (MIR) by highlighting the potential and limitations of current approaches in handling complex musical arrangements. Future work aims to include a broader range of musical sounds, including electronic and synthetic sounds, to improve the model's robustness and applicability in real-time MIR systems. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=binary%20classifier" title="binary classifier">binary classifier</a>, <a href="https://publications.waset.org/abstracts/search?q=CNN" title=" CNN"> CNN</a>, <a href="https://publications.waset.org/abstracts/search?q=spectrogram" title=" spectrogram"> spectrogram</a>, <a href="https://publications.waset.org/abstracts/search?q=instrument" title=" instrument"> instrument</a> </p> <a href="https://publications.waset.org/abstracts/185822/musical-instrument-recognition-in-polyphonic-audio-through-convolutional-neural-networks-and-spectrograms" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185822.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">79</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">13</span> A Polyphonic Look at Trends</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Turquesa%20Topper">Turquesa Topper</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The reflection focuses on recording and explaining the considerations, conceptualizations and methodological approach with which from the University, that is to say, from the academic field, the study of Trends is addressed with the intention of training professionals in the area, an area that requires disciplinary boundaries and builds a polyphonic vision. When referring to the objective of our Laboratory the detection of aesthetic trends of consumption, we find ourselves in the requirement to define our object: trends, aesthetic trends of consumption, more specifically. The pages cover a conception of trends from a theoretical framework that incorporates contributions from linguistics, semiotics, sociology, cultural studies and project disciplines, in order to consolidate a polyphonic look. The text investigates in the pre-discursive aspect of the trends, in the circulation of the notion of style and in the dynamics of affirmation - denial as the constitutive dynamics of Fashion linked to any process of innovation. From such inquiry, it is presented to Fashion as a system that operates directly on the construction of socio-individual identities unfolding through the liquefaction of signs in trends. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fashion" title="fashion">fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=methodology" title=" methodology"> methodology</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=trends" title=" trends"> trends</a> </p> <a href="https://publications.waset.org/abstracts/72616/a-polyphonic-look-at-trends" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/72616.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">250</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12</span> Mikhail Bakhtin's Standpoint of Neo-Marxism and beyond: Bildungsroman as a Critique</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hsiao-Yung%20Wang">Hsiao-Yung Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to elaborate the standpoint of neo-Marxism of Russian philosopher Mikhail Bakhtin by critical reading his concept of Bildungsroman; thereby, it aims to map the theoretical implication of spatial rhetoric and its time politics/emancipatory politics in late Bakhtin’s thought. First, it aims to outline the two revolving rings of spatiality in Bildungsroman, proceeding from 'recollecting the past' to 'foreseeing the future' on the basis of visuality and materialistic realism. Herein, Bakhtin has temporarily been leaving his previous research concern on polyphonic novel. Second, it aims to demonstrate that although Bakhtin has constantly emphasized the necessity of reconstructing opened future space, his insistence on 'emergence' has still generated a seemingly theoretical lacuna which needs to be filled. 'Doubled heterotopia,' as popularized by contemporary rhetorician Saindon, might be an adequate approach to articulate and present the rhetorical functions and dynamics of Bakhtin’s spatial rhetoric dialectically. Based on the research findings, this paper argues that Bakhtin indeed attempted to go beyond the deterministic model of Marxism and neo-Marxism strategically and reciprocally. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bildungsroman" title="Bildungsroman">Bildungsroman</a>, <a href="https://publications.waset.org/abstracts/search?q=double%20heterotopia" title=" double heterotopia"> double heterotopia</a>, <a href="https://publications.waset.org/abstracts/search?q=emergence" title=" emergence"> emergence</a>, <a href="https://publications.waset.org/abstracts/search?q=Mikhail%20Bakhtin" title=" Mikhail Bakhtin"> Mikhail Bakhtin</a>, <a href="https://publications.waset.org/abstracts/search?q=neo-Marxism" title=" neo-Marxism"> neo-Marxism</a>, <a href="https://publications.waset.org/abstracts/search?q=spatial%20rhetoric" title=" spatial rhetoric"> spatial rhetoric</a>, <a href="https://publications.waset.org/abstracts/search?q=time-politics" title=" time-politics"> time-politics</a>, <a href="https://publications.waset.org/abstracts/search?q=visuality" title=" visuality"> visuality</a> </p> <a href="https://publications.waset.org/abstracts/74513/mikhail-bakhtins-standpoint-of-neo-marxism-and-beyond-bildungsroman-as-a-critique" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/74513.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">261</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11</span> 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">10</span> Comparison of Polyphonic Profile of a Berry from Two Different Sources, Using an Optimized Extraction Method</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=G.%20Torabian">G. Torabian</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Fathi"> A. Fathi</a>, <a href="https://publications.waset.org/abstracts/search?q=P.%20Valtchev"> P. Valtchev</a>, <a href="https://publications.waset.org/abstracts/search?q=F.%20Dehghani"> F. Dehghani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The superior polyphenol content of Sambucus nigra berries has high health potentials for the production of nutraceutical products. Numerous factors influence the polyphenol content of the final products including the berries’ source and the subsequent processing production steps. The aim of this study is to compare the polyphenol content of berries from two different sources and also to optimise the polyphenol extraction process from elderberries. Berries from source B obtained more acceptable physical properties than source A; a single berry from source B was double in size and weight (both wet and dry weight) compared with a source A berry. Despite the appropriate physical characteristics of source B berries, their polyphenolic profile was inferior; as source A berries had 2.3 fold higher total anthocyanin content, and nearly two times greater total phenolic content and total flavonoid content compared to source B. Moreover, the result of this study showed that almost 50 percent of the phenolic content of berries are entrapped within their skin and pulp that potentially cannot be extracted by press juicing. To address this challenge and to increase the total polyphenol yield of the extract, we used cold-shock blade grinding method to break the cell walls. The result of this study showed that using cultivars with higher phenolic content as well as using the whole fruit including juice, skin and pulp can increase polyphenol yield significantly; and thus, may boost the potential of using elderberries as therapeutic products. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=different%20sources" title="different sources">different sources</a>, <a href="https://publications.waset.org/abstracts/search?q=elderberry" title=" elderberry"> elderberry</a>, <a href="https://publications.waset.org/abstracts/search?q=grinding" title=" grinding"> grinding</a>, <a href="https://publications.waset.org/abstracts/search?q=juicing" title=" juicing"> juicing</a>, <a href="https://publications.waset.org/abstracts/search?q=polyphenols" title=" polyphenols"> polyphenols</a> </p> <a href="https://publications.waset.org/abstracts/44253/comparison-of-polyphonic-profile-of-a-berry-from-two-different-sources-using-an-optimized-extraction-method" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/44253.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">294</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">9</span> Analyzing the Sound of Space - The Glissando of the Planets and the Spiral Movement on the Sound of Earth, Saturn and Jupiter</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=L.%20Tonia">L. Tonia</a>, <a href="https://publications.waset.org/abstracts/search?q=I.%20Daglis"> I. Daglis</a>, <a href="https://publications.waset.org/abstracts/search?q=W.%20Kurth"> W. Kurth</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The sound of the universe creates an affinity with the sounds of music. The analysis of the sound of space focuses on the existence of a tone material, the microstructure and macrostructure, and the form of the sound through the signals recorded during the flight of the spacecraft Van Allen Probes and Cassini’s mission. The sound becomes from the frequencies that belong to electromagnetic waves. Plasma Wave Science Instrument and Electric and Magnetic Field Instrument Suite and Integrated Science (EMFISIS) recorded the signals from space. A transformation of that signals to audio gave the opportunity to study and analyze the sound. Due to the fact that the musical tone pitch has a frequency and every electromagnetic wave produces a frequency too, the creation of a musical score, which appears as the sound of space, can give information about the form, the symmetry, and the harmony of the sound. The conversion of space radio emissions to audio provides a number of tone pitches corresponding to the original frequencies. Through the process of these sounds, we have the opportunity to present a music score that “composed” from space. In this score, we can see some basic features associated with the music form, the structure, the tone center of music material, the construction and deconstruction of the sound. The structure, which was built through a harmonic world, includes tone centers, major and minor scales, sequences of chords, and types of cadences. The form of the sound represents the symmetry of a spiral movement not only in micro-structural but also to macro-structural shape. Multiple glissando sounds in linear and polyphonic process of the sound, founded in magnetic fields around Earth, Saturn, and Jupiter, but also a spiral movement appeared on the spectrogram of the sound. Whistles, Auroral Kilometric Radiations, and Chorus emissions reveal movements similar to musical excerpts of works by contemporary composers like Sofia Gubaidulina, Iannis Xenakis, EinojuhamiRautavara. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=space%20sound%20analysis" title="space sound analysis">space sound analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=spiral" title=" spiral"> spiral</a>, <a href="https://publications.waset.org/abstracts/search?q=space%20music" title=" space music"> space music</a>, <a href="https://publications.waset.org/abstracts/search?q=analysis" title=" analysis"> analysis</a> </p> <a href="https://publications.waset.org/abstracts/141526/analyzing-the-sound-of-space-the-glissando-of-the-planets-and-the-spiral-movement-on-the-sound-of-earth-saturn-and-jupiter" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/141526.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">8</span> Gestalt in Music and Brain: A Non-Linear Chaos Based Study with Detrended/Adaptive Fractal Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shankha%20Sanyal">Shankha Sanyal</a>, <a href="https://publications.waset.org/abstracts/search?q=Archi%20Banerjee"> Archi Banerjee</a>, <a href="https://publications.waset.org/abstracts/search?q=Sayan%20Biswas"> Sayan Biswas</a>, <a href="https://publications.waset.org/abstracts/search?q=Sourya%20Sengupta"> Sourya Sengupta</a>, <a href="https://publications.waset.org/abstracts/search?q=Sayan%20Nag"> Sayan Nag</a>, <a href="https://publications.waset.org/abstracts/search?q=Ranjan%20Sengupta"> Ranjan Sengupta</a>, <a href="https://publications.waset.org/abstracts/search?q=Dipak%20Ghosh"> Dipak Ghosh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The term ‘gestalt’ has been widely used in the field of psychology which defined the perception of human mind to group any object not in part but as a 'unified' whole. Music, in general, is polyphonic - i.e. a combination of a number of pure tones (frequencies) mixed together in a manner that sounds harmonious. The study of human brain response due to different frequency groups of the acoustic signal can give us an excellent insight regarding the neural and functional architecture of brain functions. Hence, the study of music cognition using neuro-biosensors is becoming a rapidly emerging field of research. In this work, we have tried to analyze the effect of different frequency bands of music on the various frequency rhythms of human brain obtained from EEG data. Four widely popular Rabindrasangeet clips were subjected to Wavelet Transform method for extracting five resonant frequency bands from the original music signal. These frequency bands were initially analyzed with Detrended/Adaptive Fractal analysis (DFA/AFA) methods. A listening test was conducted on a pool of 100 respondents to assess the frequency band in which the music becomes non-recognizable. Next, these resonant frequency bands were presented to 20 subjects as auditory stimulus and EEG signals recorded simultaneously in 19 different locations of the brain. The recorded EEG signals were noise cleaned and subjected again to DFA/AFA technique on the alpha, theta and gamma frequency range. Thus, we obtained the scaling exponents from the two methods in alpha, theta and gamma EEG rhythms corresponding to different frequency bands of music. From the analysis of music signal, it is seen that loss of recognition is proportional to the loss of long range correlation in the signal. From the EEG signal analysis, we obtain frequency specific arousal based response in different lobes of brain as well as in specific EEG bands corresponding to musical stimuli. In this way, we look to identify a specific frequency band beyond which the music becomes non-recognizable and below which in spite of the absence of other bands the music is perceivable to the audience. This revelation can be of immense importance when it comes to the field of cognitive music therapy and researchers of creativity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=AFA" title="AFA">AFA</a>, <a href="https://publications.waset.org/abstracts/search?q=DFA" title=" DFA"> DFA</a>, <a href="https://publications.waset.org/abstracts/search?q=EEG" title=" EEG"> EEG</a>, <a href="https://publications.waset.org/abstracts/search?q=gestalt%20in%20music" title=" gestalt in music"> gestalt in music</a>, <a href="https://publications.waset.org/abstracts/search?q=Hurst%20exponent" title=" Hurst exponent"> Hurst exponent</a> </p> <a href="https://publications.waset.org/abstracts/71039/gestalt-in-music-and-brain-a-non-linear-chaos-based-study-with-detrendedadaptive-fractal-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71039.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">332</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7</span> Music in Religion Culture of the Georgian Pentecostals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nino%20Naneishvili">Nino Naneishvili</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study of religious minorities and their musical culture has attracted scant academic attention in Georgia. Within wider Georgian society, it would seem that the focus of discourse to date has been on the traditional orthodox religion and its musical expression, with other forms of religious expression regarded as intrinsically less valuable. The goal of this article is to study Georgia's different religious and musical picture which, this time, is presented on the example of the Pentecostals. The first signs of the Pentecostal movement originated at the end of the 19th Century in the USA, and first appeared in Georgia as early as 1914. An ethnomusicological perspective allows the use of anthropological and sociological approaches. The basic methodology is an ethnographic method. This involved attending religious services, observation, in-depth interviews and musical material analysis. This analysis, based on a combined use of various theoretical and methodological approaches, reveals that Georgian Pentecostals, apart from polyphonic singing, are characterised by “ bi-musicality.“ This phenomenon together with Georgian three part polyphony combines vocalisation within “social polyphony.“ The concept of back stage and front stage is highlighted. Chanters also try to express national identity. In some cases however it has been observed that they abandon or conceal certain musical forms of expression which are considered central to Georgian identity. The famous hymn “Thou art a Vineyard” is a case in point. The reason given for this omission within the Georgian Pentecostal church is that within Pentecostal doctrine, God alone is the object of worship. Therefore there is no veneration of Saints as representatives of the Divine. In some cases informants denied the existence of this hymn, and others explain that the meaning conveyed to the Vineyard is that of Jesus Christ and not the Virgin Mary. Others stated that they loved Virgin Mary and were therefore free to sing this song outside church circles. The results of this study illustrates that one of the religious minorities in Georgia, the Pentecostals, are characterised by a deviation in musical thinking from Homo Polyphonicus. They actively change their form of musical worship to secondary ethno hearing – bi-musicality. This outcome is determined by both new religious thinking and the process of globalization. A significant principle behind this form of worship is the use of forms during worship which are acceptable and accessible to all. This naturally leads to the development of modern forms. Obtained material does not demonstrate a connection between traditional religious music in general. Rather, it constitutes an independent domain. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Georgia" title="Georgia">Georgia</a>, <a href="https://publications.waset.org/abstracts/search?q=globalization" title=" globalization"> globalization</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=pentecostal" title=" pentecostal "> pentecostal </a> </p> <a href="https://publications.waset.org/abstracts/37190/music-in-religion-culture-of-the-georgian-pentecostals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/37190.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">324</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">6</span> The Quantum Theory of Music and Human Languages</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mballa%20Abanda%20Luc%20Aurelien%20Serge">Mballa Abanda Luc Aurelien Serge</a>, <a href="https://publications.waset.org/abstracts/search?q=Henda%20Gnakate%20Biba"> Henda Gnakate Biba</a>, <a href="https://publications.waset.org/abstracts/search?q=Kuate%20Guemo%20Romaric"> Kuate Guemo Romaric</a>, <a href="https://publications.waset.org/abstracts/search?q=Akono%20Rufine%20Nicole"> Akono Rufine Nicole</a>, <a href="https://publications.waset.org/abstracts/search?q=Zabotom%20Yaya%20Fadel%20Biba"> Zabotom Yaya Fadel Biba</a>, <a href="https://publications.waset.org/abstracts/search?q=Petfiang%20Sidonie"> Petfiang Sidonie</a>, <a href="https://publications.waset.org/abstracts/search?q=Bella%20Suzane%20Jenifer"> Bella Suzane Jenifer</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main hypotheses proposed around the definition of the syllable and of music, of the common origin of music and language, should lead the reader to reflect on the cross-cutting questions raised by the debate on the notion of universals in linguistics and musicology. These are objects of controversy, and there lies its interest: the debate raises questions that are at the heart of theories on language. It is an inventive, original, and innovative research thesis. A contribution to the theoretical, musicological, ethno musicological, and linguistic conceptualization of languages, giving rise to the practice of interlocution between the social and cognitive sciences, the activities of artistic creation, and the question of modeling in the human sciences: mathematics, computer science, translation automation, and artificial intelligence. When you apply this theory to any text of a folksong of a world-tone language, you do not only piece together the exact melody, rhythm, and harmonies of that song as if you knew it in advance but also the exact speaking of this language. The author believes that the issue of the disappearance of tonal languages and their preservation has been structurally resolved, as well as one of the greatest cultural equations related to the composition and creation of tonal, polytonal, and random music. The experimentation confirming the theorization, I designed a semi-digital, semi-analog application that translates the tonal languages of Africa (about 2,100 languages) into blues, jazz, world music, polyphonic music, tonal and anatonal music, and deterministic and random music). To test this application, I use music reading and writing software that allows me to collect the data extracted from my mother tongue, which is already modeled in the musical staves saved in the ethnographic (semiotic) dictionary for automatic translation ( volume 2 of the book). The translation is done (from writing to writing, from writing to speech, and from writing to music). Mode of operation: you type a text on your computer, a structured song (chorus-verse), and you command the machine a melody of blues, jazz, and world music or variety, etc. The software runs, giving you the option to choose harmonies, and then you select your melody. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=language" title="language">language</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=sciences" title=" sciences"> sciences</a>, <a href="https://publications.waset.org/abstracts/search?q=quantum%20entenglement" title=" quantum entenglement"> quantum entenglement</a> </p> <a href="https://publications.waset.org/abstracts/162307/the-quantum-theory-of-music-and-human-languages" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/162307.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">77</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">5</span> The French Ekang Ethnographic Dictionary. The Quantum Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Henda%20Gnakate%20Biba">Henda Gnakate Biba</a>, <a href="https://publications.waset.org/abstracts/search?q=Ndassa%20%20Mouafon%20Issa"> Ndassa Mouafon Issa</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Dictionaries modeled on the Western model [tonic accent languages] are not suitable and do not account for tonal languages phonologically, which is why the [prosodic and phonological] ethnographic dictionary was designed. It is a glossary that expresses the tones and the rhythm of words. It recreates exactly the speaking or singing of a tonal language, and allows the non-speaker of this language to pronounce the words as if they were a native. It is a dictionary adapted to tonal languages. It was built from ethnomusicological theorems and phonological processes, according to Jean. J. Rousseau 1776 hypothesis /To say and to sing were once the same thing/. Each word in the French dictionary finds its corresponding language, ekaη. And each word ekaη is written on a musical staff. This ethnographic dictionary is also an inventive, original and innovative research thesis, but it is also an inventive, original and innovative research thesis. A contribution to the theoretical, musicological, ethno musicological and linguistic conceptualization of languages, giving rise to the practice of interlocution between the social and cognitive sciences, the activities of artistic creation and the question of modeling in the human sciences: mathematics, computer science, translation automation and artificial intelligence. When you apply this theory to any text of a folksong of a world-tone language, you do not only piece together the exact melody, rhythm, and harmonies of that song as if you knew it in advance but also the exact speaking of this language. The author believes that the issue of the disappearance of tonal languages and their preservation has been structurally resolved, as well as one of the greatest cultural equations related to the composition and creation of tonal, polytonal and random music. The experimentation confirming the theorization designed a semi-digital, semi-analog application which translates the tonal languages of Africa (about 2,100 languages) into blues, jazz, world music, polyphonic music, tonal and anatonal music and deterministic and random music). To test this application, I use a music reading and writing software that allows me to collect the data extracted from my mother tongue, which is already modeled in the musical staves saved in the ethnographic (semiotic) dictionary for automatic translation ( volume 2 of the book). Translation is done (from writing to writing, from writing to speech and from writing to music). Mode of operation: you type a text on your computer, a structured song (chorus-verse), and you command the machine a melody of blues, jazz and, world music or, variety etc. The software runs, giving you the option to choose harmonies, and then you select your melody. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=language" title=" language"> language</a>, <a href="https://publications.waset.org/abstracts/search?q=entenglement" title=" entenglement"> entenglement</a>, <a href="https://publications.waset.org/abstracts/search?q=science" title=" science"> science</a>, <a href="https://publications.waset.org/abstracts/search?q=research" title=" research"> research</a> </p> <a href="https://publications.waset.org/abstracts/174989/the-french-ekang-ethnographic-dictionary-the-quantum-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174989.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">69</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">4</span> Post Disaster Community Support with Family Manga Exhibition as a Tool for Intervention and Outreach: Reflection on the past Five Years from a Narrative Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kuniko%20Muramoto">Kuniko Muramoto</a>, <a href="https://publications.waset.org/abstracts/search?q=Tadashi%20Nakamura"> Tadashi Nakamura</a>, <a href="https://publications.waset.org/abstracts/search?q=Shiro%20Dan"> Shiro Dan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> On March 11, 2011 the Great East Japan Disaster caused widespread damage. In the aftermath, we searched for ways to provide long-term support and enhanced resilience to affected areas, arriving at the Family Manga Exhibition: an art collection portraying family life. It became a tool for community outreach and intervention, and we implemented support programs by collaborating with local support agencies. This 10-year project has been touring through four prefectures in Tohoku since the disaster struck, bearing witness to the effects of disaster and recovery alike. At this five-year mark, we use a narrative perspective to present our findings and reflect on post-disaster community support. It is important to note that the exhibition’s art does not directly depict the disaster; it portrays stories of anonymous families instead. They stimulate viewers’ memories and remind them of their own family stories. We analyzed viewers' oral and written responses to the exhibition and discovered that family manga as an art form enhances the viewer’s sense of connection to people close to them. We also discovered that the viewers gained more universal perspective on their own situations by viewing the exhibition. Manga, we found, offered a certain safety by enabling the viewers to control how they would interact with the exhibition's content and themes. In addition, the purpose of the project was for us to become witnesses of the disaster and recovery. Supporters of the project became active listeners, functioning as interactive agents who helped forming stories. Voices of the story tellers and the listeners layered upon each other and, as a result, converged into brand new narratives. The essence of traumatic experience is ‘the sense of overwhelming powerlessness and isolation’. When we redefine trauma as ‘broken relationships’, we can say that ‘enhancing relationships’ and ‘weaving relationships’ are what strengthen our resilience. This project used narrative as a modality to fortify the resilience of people involved by enhancing the social capital of bonding, bridging, and linking. The manga exhibition functioned as a tool to achieve this end, suggesting that similar applications are possible. Programs we held in-between manga exhibitions also served to enhance narratives of resiliency in the regions. However, we will save that story for another time. We hope to continue collecting the precious and polyphonic voices of people to present as stories born out of the Great East Japan Disaster. This effort extends beyond the immediately affected area by helping us prepare our resilience for future disasters. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=community" title="community">community</a>, <a href="https://publications.waset.org/abstracts/search?q=manga" title=" manga"> manga</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=resilience" title=" resilience"> resilience</a> </p> <a href="https://publications.waset.org/abstracts/58640/post-disaster-community-support-with-family-manga-exhibition-as-a-tool-for-intervention-and-outreach-reflection-on-the-past-five-years-from-a-narrative-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/58640.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">224</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">3</span> Semiotics of the New Commercial Music Paradigm</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mladen%20Milicevic">Mladen Milicevic</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This presentation will address how the statistical analysis of digitized popular music influences the music creation and emotionally manipulates consumers.Furthermore, it will deal with semiological aspect of uniformization of musical taste in order to predict the potential revenues generated by popular music sales. In the USA, we live in an age where most of the popular music (i.e. music that generates substantial revenue) has been digitized. It is safe to say that almost everything that was produced in last 10 years is already digitized (either available on iTunes, Spotify, YouTube, or some other platform). Depending on marketing viability and its potential to generate additional revenue most of the “older” music is still being digitized. Once the music gets turned into a digital audio file,it can be computer-analyzed in all kinds of respects, and the similar goes for the lyrics because they also exist as a digital text file, to which any kin of N Capture-kind of analysis may be applied. So, by employing statistical examination of different popular music metrics such as tempo, form, pronouns, introduction length, song length, archetypes, subject matter,and repetition of title, the commercial result may be predicted. Polyphonic HMI (Human Media Interface) introduced the concept of the hit song science computer program in 2003.The company asserted that machine learning could create a music profile to predict hit songs from its audio features Thus,it has been established that a successful pop song must include: 100 bpm or more;an 8 second intro;use the pronoun 'you' within 20 seconds of the start of the song; hit the bridge middle 8 between 2 minutes and 2 minutes 30 seconds; average 7 repetitions of the title; create some expectations and fill that expectation in the title. For the country song: 100 bpm or less for a male artist; 14-second intro; uses the pronoun 'you' within the first 20 seconds of the intro; has a bridge middle 8 between 2 minutes and 2 minutes 30 seconds; has 7 repetitions of title; creates an expectation,fulfills it in 60 seconds.This approach to commercial popular music minimizes the human influence when it comes to which “artist” a record label is going to sign and market. Twenty years ago,music experts in the A&R (Artists and Repertoire) departments of the record labels were making personal aesthetic judgments based on their extensive experience in the music industry. Now, the computer music analyzing programs, are replacing them in an attempt to minimize investment risk of the panicking record labels, in an environment where nobody can predict the future of the recording industry.The impact on the consumers taste through the narrow bottleneck of the above mentioned music selection by the record labels,created some very peculiar effects not only on the taste of popular music consumers, but also the creative chops of the music artists as well. What is the meaning of this semiological shift is the main focus of this research and paper presentation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=semiology" title=" semiology"> semiology</a>, <a href="https://publications.waset.org/abstracts/search?q=commercial" title=" commercial"> commercial</a>, <a href="https://publications.waset.org/abstracts/search?q=taste" title=" taste"> taste</a> </p> <a href="https://publications.waset.org/abstracts/26177/semiotics-of-the-new-commercial-music-paradigm" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26177.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">393</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2</span> The Quantum Theory of Music and Languages</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mballa%20Abanda%20Serge">Mballa Abanda Serge</a>, <a href="https://publications.waset.org/abstracts/search?q=Henda%20Gnakate%20Biba"> Henda Gnakate Biba</a>, <a href="https://publications.waset.org/abstracts/search?q=Romaric%20Guemno%20Kuate"> Romaric Guemno Kuate</a>, <a href="https://publications.waset.org/abstracts/search?q=Akono%20Rufine%20Nicole"> Akono Rufine Nicole</a>, <a href="https://publications.waset.org/abstracts/search?q=Petfiang%20Sidonie"> Petfiang Sidonie</a>, <a href="https://publications.waset.org/abstracts/search?q=Bella%20Sidonie"> Bella Sidonie</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main hypotheses proposed around the definition of the syllable and of music, of the common origin of music and language, should lead the reader to reflect on the cross-cutting questions raised by the debate on the notion of universals in linguistics and musicology. These are objects of controversy, and there lies its interest: the debate raises questions that are at the heart of theories on language. It is an inventive, original and innovative research thesis. The main hypotheses proposed around the definition of the syllable and of music, of the common origin of music and language, should lead the reader to reflect on the cross-cutting questions raised by the debate on the notion of universals in linguistics and musicology. These are objects of controversy, and there lies its interest: the debate raises questions that are at the heart of theories on language. It is an inventive, original and innovative research thesis. A contribution to the theoretical, musicological, ethno musicological and linguistic conceptualization of languages, giving rise to the practice of interlocution between the social and cognitive sciences, the activities of artistic creation and the question of modeling in the human sciences: mathematics, computer science, translation automation and artificial intelligence. When you apply this theory to any text of a folksong of a world-tone language, you do not only piece together the exact melody, rhythm, and harmonies of that song as if you knew it in advance but also the exact speaking of this language. The author believes that the issue of the disappearance of tonal languages and their preservation has been structurally resolved, as well as one of the greatest cultural equations related to the composition and creation of tonal, polytonal and random music. The experimentation confirming the theorization, It designed a semi-digital, semi-analog application which translates the tonal languages of Africa (about 2,100 languages) into blues, jazz, world music, polyphonic music, tonal and anatonal music and deterministic and random music). To test this application, I use a music reading and writing software that allows me to collect the data extracted from my mother tongue, which is already modeled in the musical staves saved in the ethnographic (semiotic) dictionary for automatic translation ( volume 2 of the book). Translation is done (from writing to writing, from writing to speech and from writing to music). Mode of operation: you type a text on your computer, a structured song (chorus-verse), and you command the machine a melody of blues, jazz and world music or variety etc. The software runs, giving you the option to choose harmonies, and then you select your melody. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=entanglement" title=" entanglement"> entanglement</a>, <a href="https://publications.waset.org/abstracts/search?q=langauge" title=" langauge"> langauge</a>, <a href="https://publications.waset.org/abstracts/search?q=science" title=" science"> science</a> </p> <a href="https://publications.waset.org/abstracts/168636/the-quantum-theory-of-music-and-languages" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/168636.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">1</span> Ensemble of Misplacement, Juxtaposing Feminine Identity in Time and Space: An Analysis of Works of Modern Iranian Female Photographers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Delaram%20Hosseinioun">Delaram Hosseinioun</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In their collections, Shirin Neshat, Mitra Tabrizian, Gohar Dashti and Newsha Tavakolian adopt a hybrid form of narrative to confront the restrictions imposed on women in hegemonic public and private spaces. Focusing on motives such as social marginalisation, crisis of belonging, as well as lack of agency for women, the artists depict the regression of women’s rights in their respective generations. Based on the ideas of Michael Bakhtin, namely his concept of polyphony or the plurality of contradictory voices, the views of Judith Butler on giving an account to oneself and Henri Leverbre’s theories on social space, this study illustrates the artists’ concept of identity in crisis through time and space. The research explores how the artists took their art as a novel dimension to depict and confront the hardships imposed on Iranian women. Henri Lefebvre makes a distinction between complex social structures through which individuals situate, perceive and represent themselves. By adding Bakhtin’s polyphonic view to Lefebvre’s concepts of perceived and lived spaces, the study explores the sense of social fragmentation in the works of Dashti and Tavakolian. One argument is that as the representatives of the contemporary generation of female artists who spend their lives in Iran and faced a higher degree of restrictions, their hyperbolic and theatrical styles stand as a symbolic act of confrontation against restrictive socio-cultural norms imposed on women. Further, the research explores the possibility of reclaiming one's voice and sense of agency through art, corresponding with the Bakhtinian sense of polyphony and Butler’s concept of giving an account to oneself. Works of Neshat and Tabrizian as the representatives of the previous generation who faced exile and diaspora, encompass a higher degree of misplacement, violence and decay of women’s presence. In Their works, the women’s body encompasses Lefebvre’s dismantled temporal and special setting. Notably, the ongoing social conviction and gender-based dogma imposed on women frame some of the concurrent motives among the selected collections of the four artists. By applying an interdisciplinary lens and integrating the conducted interviews with the artists, the study illustrates how the artists seek a transcultural account for themselves and women in their generations. Further, the selected collections manifest the urgency for an authentic and liberal voice and setting for women, resonating with the concurrent Women, Life, Freedom movement in Iran. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=persian%20modern%20female%20photographers" title="persian modern female photographers">persian modern female photographers</a>, <a href="https://publications.waset.org/abstracts/search?q=transcultural%20studies" title=" transcultural studies"> transcultural studies</a>, <a href="https://publications.waset.org/abstracts/search?q=shirin%20neshat" title=" shirin neshat"> shirin neshat</a>, <a href="https://publications.waset.org/abstracts/search?q=mitra%20tabrizian" title=" mitra tabrizian"> mitra tabrizian</a>, <a href="https://publications.waset.org/abstracts/search?q=gohar%20dashti" title=" gohar dashti"> gohar dashti</a>, <a href="https://publications.waset.org/abstracts/search?q=newsha%20tavakolian" title=" newsha tavakolian"> newsha tavakolian</a>, <a href="https://publications.waset.org/abstracts/search?q=butler" title=" butler"> butler</a>, <a href="https://publications.waset.org/abstracts/search?q=bakhtin" title=" bakhtin"> bakhtin</a>, <a href="https://publications.waset.org/abstracts/search?q=lefebvre" title=" lefebvre"> lefebvre</a> </p> <a href="https://publications.waset.org/abstracts/169676/ensemble-of-misplacement-juxtaposing-feminine-identity-in-time-and-space-an-analysis-of-works-of-modern-iranian-female-photographers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/169676.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">78</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> 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