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music performance</title> <meta name="description" content="Search results for: expressive music performance"> <meta name="keywords" content="expressive music performance"> <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 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="expressive music performance"> <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> 13401</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: expressive music performance</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">13401</span> FlameCens: Visualization of Expressive Deviations in Music Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Y.%20Trantafyllou">Y. Trantafyllou</a>, <a href="https://publications.waset.org/abstracts/search?q=C.%20Alexandraki"> C. Alexandraki</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music interpretation accounts to the way musicians shape their performance by deliberately deviating from composers’ intentions, which are commonly communicated via some form of music transcription, such as a music score. For transcribed and non-improvised music, music expression is manifested by introducing subtle deviations in tempo, dynamics and articulation during the evolution of performance. This paper presents an application, named FlameCens, which, given two recordings of the same piece of music, presumably performed by different musicians, allow visualising deviations in tempo and dynamics during playback. The application may also compare a certain performance to the music score of that piece (i.e. MIDI file), which may be thought of as an expression-neutral representation of that piece, hence depicting the expressive queues employed by certain performers. FlameCens uses the Dynamic Time Warping algorithm to compare two audio sequences, based on CENS (Chroma Energy distribution Normalized Statistics) audio features. Expressive deviations are illustrated in a moving flame, which is generated by an animation of particles. The length of the flame is mapped to deviations in dynamics, while the slope of the flame is mapped to tempo deviations so that faster tempo changes the slope to the right and slower tempo changes the slope to the left. Constant slope signifies no tempo deviation. The detected deviations in tempo and dynamics can be additionally recorded in a text file, which allows for offline investigation. Moreover, in the case of monophonic music, the color of particles is used to convey the pitch of the notes during performance. FlameCens has been implemented in Python and it is openly available via GitHub. The application has been experimentally validated for different music genres including classical, contemporary, jazz and popular music. These experiments revealed that FlameCens can be a valuable tool for music specialists (i.e. musicians or musicologists) to investigate the expressive performance strategies employed by different musicians, as well as for music audience to enhance their listening experience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audio%20synchronization" title="audio synchronization">audio synchronization</a>, <a href="https://publications.waset.org/abstracts/search?q=computational%20music%20analysis" title=" computational music analysis"> computational music analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=expressive%20music%20performance" title=" expressive music performance"> expressive music performance</a>, <a href="https://publications.waset.org/abstracts/search?q=information%20visualization" title=" information visualization"> information visualization</a> </p> <a href="https://publications.waset.org/abstracts/132396/flamecens-visualization-of-expressive-deviations-in-music-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132396.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">13400</span> Performance Practices in Classic Piano Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mahdi%20Kazemi">Mahdi Kazemi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Today's performances on Piano Forte or Fortepiano are cheerful, musical, expressive, and at the same time informative. AlterMuskie is an exciting and richly drawn magazine that is unmatched in its field. First published in 1973, it is a magazine for anyone interested in early music and its contemporary interpretation. Alexander Scriabin's (1871_1915) work has traditionally focused on his music in the mid and late 1902s. The discussion of his personal philosophy and his influence on music also focuses on these two periods. Over the last few decades, the repertoire of British classical solo pianos has received increasing interest from researchers. From the piano rolls of the early 20th century, much can be inferred about the practice of romantic piano playing. Summary Haydn's most important piano works are the sonatas, which generally represent Haydn's development as a composer from the early to the last three sonata dates, 1794. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=piano" title="piano">piano</a>, <a href="https://publications.waset.org/abstracts/search?q=classic%20piano" title=" classic piano"> classic piano</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a> </p> <a href="https://publications.waset.org/abstracts/143424/performance-practices-in-classic-piano-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143424.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">189</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">13399</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">213</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">13398</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">13397</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">227</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">13396</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">13395</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">13394</span> Effects of Synchronous Music in Gymnastics' Motor Skill Performance among Undergraduate Female Students in Physical Education College</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sanaa%20Ali%20Ahmed%20Alrashid">Sanaa Ali Ahmed Alrashid</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present study aimed to investigate the effect of synchronous music in gymnastics' motor skill performance among undergraduate female students in physical education college at Basra University. The researcher used an experimental design. 20 female students of physical education divided equally into two groups, (10)experimental group with music, (10) control group without music. All participants complete 8 weeks in testing. Data analysis based on T-test shows a significant difference at (α = 0.05) in all skills level between experimental and control groups in favor of the experimental group. Results of this study contribute to developing the role of synchronous music in improving gymnastic skills performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=performance" title="performance">performance</a>, <a href="https://publications.waset.org/abstracts/search?q=motor%20skill" title=" motor skill"> motor skill</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=synchronous" title=" synchronous "> synchronous </a> </p> <a href="https://publications.waset.org/abstracts/35494/effects-of-synchronous-music-in-gymnastics-motor-skill-performance-among-undergraduate-female-students-in-physical-education-college" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/35494.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">484</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">13393</span> Voice in Music Therapy and Adult Trauma Research: Presenting a Meta-Synthesis of Lived Experience Perspectives</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kirsten%20B.%20Hillman">Kirsten B. Hillman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> There is a growing body of qualitative research in adult mental health and music therapy contexts which highlights user perspectives; however, only a very small sub-section of this literature pertains to people with lived experiences of psychological trauma. This paper will provide a meta-synthesis of this existing body of research, with the intention to present a cohesive overview of salient themes in this research and a platform for the under-represented voices of those with lived experience. This synthesis will be contextualised within a broader discussion of ‘Voice’ in trauma and music therapy research, considering its layered meanings: including literal expressive vocalising and musical expression, voicing after experiences of silencing, and the possibilities of experiencing self-determination and agency in therapy after trauma. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=lived%20experience" title="lived experience">lived experience</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20therapy" title=" music therapy"> music therapy</a>, <a href="https://publications.waset.org/abstracts/search?q=trauma" title=" trauma"> trauma</a>, <a href="https://publications.waset.org/abstracts/search?q=user%20perspectives" title=" user perspectives"> user perspectives</a> </p> <a href="https://publications.waset.org/abstracts/140541/voice-in-music-therapy-and-adult-trauma-research-presenting-a-meta-synthesis-of-lived-experience-perspectives" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/140541.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">233</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">13392</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">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">13391</span> Work with Children's Music Group: Important Aspects of Didactic and Artistic Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eudjen%20Cinc">Eudjen Cinc</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Work with a human voice, especially with a child s voice and cultivating the sound of the choir, presents an area of crucial importance for a conductor. We use the term conductor because it needs to be understood that regardless of whether we have in front of us an amateur or a professional choir, whether they are singers with a wealth of experience or children who are still developing and educating their inner ear so that in the future they could contribute to the development of choir music, the person who stands in front of the group and works with them, needs to have the characteristics of a conductor. Voice formation is a long-term process, without which there is no success in both solo and collective music performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20group" title="music group">music group</a>, <a href="https://publications.waset.org/abstracts/search?q=conductor" title=" conductor"> conductor</a>, <a href="https://publications.waset.org/abstracts/search?q=collective" title=" collective"> collective</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/50779/work-with-childrens-music-group-important-aspects-of-didactic-and-artistic-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/50779.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">219</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">13390</span> Impact of Western Music Instruments on Indian Classical Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hukam%20Chand">Hukam Chand</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Over the past few years, the performance of Indian classical music has been improved a lot due to the technical inclusion of western instruments. Infect, the Indian classical music is all about raags which portray a mood and sentiments expressed through a microtonal scale based on natural harmonic series. And, most of the western instruments are not based on natural harmonic series and the tonal system is the only system which has considerable influence on the Indian classical music. However, the use of western instruments has been growing day by day in one way or the other by the Indian artists due to their quality of harmony. As a result of which, there are some common instruments such as harmonium, violin, guitar, saxophone, synthesizer which are being used commonly by Indian and western artists. On the other hand, a lot of fusion has taken place in the music of both sides due to the similar characteristics in their instruments. For example, harmonium which was originally the western instrument has now acquired an important position in Indian classical music to perform raags. Besides, a lot of suggestions for improving in the Indian music have been given by the artists for technical modification in the western instruments to cater the needs of Indian music through melody approach. Pt. Vishav Mohan Bhatt an Indian musician has developed Mohan Veena (called guitar) to perform raags. N. Rajam the Indian lady Violinist has made a remarkable work on Indian classical music by accompanied with vocal music. The purpose of the present research paper is to highlight the changes in Indian Classical Music through performance by using modified western music instruments. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Indian%20classical%20music" title="Indian classical music">Indian classical music</a>, <a href="https://publications.waset.org/abstracts/search?q=Western%20instruments" title=" Western instruments"> Western instruments</a>, <a href="https://publications.waset.org/abstracts/search?q=harmonium" title=" harmonium"> harmonium</a>, <a href="https://publications.waset.org/abstracts/search?q=guitar" title=" guitar"> guitar</a>, <a href="https://publications.waset.org/abstracts/search?q=Violin%20and%20impact" title=" Violin and impact"> Violin and impact</a> </p> <a href="https://publications.waset.org/abstracts/46996/impact-of-western-music-instruments-on-indian-classical-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/46996.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">522</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">13389</span> The Effect of Expressive Therapies on Children and Youth Impacted by Refugee Trauma: A Meta-Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Brian%20Kristopher%20Cambra">Brian Kristopher Cambra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Millions of displaced families are seeking refuge in countries that are not their own due to war, violence, persecution, political unrest, and natural disasters. This global crisis is forcing researchers and practitioners to consider how refugees are coping with the trauma associated with their migration process. Effective therapeutic approaches are needed in a global effort to address the traumatic impact of forced migration. This meta-analytical study investigates the effectiveness of expressive therapeutic modalities, including play, art, music, sandplay, theatre, and writing therapies, in helping children and adolescents cope with refugee trauma. Seventeen pre-post and between-group comparison studies were analyzed using a random-effects model. The combined effect size for pre-post comparisons was medium (g = 0.58), whereas the combined effect size for between-group comparisons was small (g = 0.32). Overall, art therapy was found to be most effective in treating stress symptoms. Heterogeneity tests, however, suggest effect sizes cannot be interpreted as meaningful due to substantial variance. Nevertheless, findings of this meta-analysis indicate that expressive therapies may be among beneficial modalities to integrate with other trauma-informed approaches. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=expressive%20therapies" title="expressive therapies">expressive therapies</a>, <a href="https://publications.waset.org/abstracts/search?q=forced%20migration" title=" forced migration"> forced migration</a>, <a href="https://publications.waset.org/abstracts/search?q=meta-analysis" title=" meta-analysis"> meta-analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=refugees" title=" refugees"> refugees</a>, <a href="https://publications.waset.org/abstracts/search?q=trauma" title=" trauma"> trauma</a> </p> <a href="https://publications.waset.org/abstracts/132384/the-effect-of-expressive-therapies-on-children-and-youth-impacted-by-refugee-trauma-a-meta-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132384.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">147</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">13388</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">13387</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">13386</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">13385</span> Self-Care and Emotional Wellbeing of Nurses Using Playback Theatre and Expressive Arts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Radhika%20Jain">Radhika Jain</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The nursing community in India face unique challenges ranging from lack of adequate career progression, low social status attached to the profession, poor nurse-to-patient ratio leading to heavy workload resulting in stress and burnout, lack of general recognition and the responsibility of often having to deal with the ire of the patients and their families. This study explores how a combination of Playback Theatre and Expressive Arts could be used as a very powerful tool to understand the concerns, and consequently as a self-care tool to bring about the sense of well-being and emotional awareness for the nurses. For the purpose of this study, Playback Theatre was used as an entry tool to understand the thoughts, feelings and concerns. Playback theatre is a unique improvisational form of theatre developed by Jonathan Fox and Jo Salas in 1975, in which audience share their own stories from their lives and the performers play them back through a range of improv techniques such as metaphor, poetry, music and movement. Playback Theatre helped in first warming them up to the idea of sharing and then gave them the confidence of a safe space to collectively go deeper into their emotional experiences. As the next step, structured sessions of Expressive Arts were conducted with the same set of nurses, for them to work on the issues and concerns they have (and which they shared during the Playback performance). These sessions were to enable longer engagements as many of the concerns expressed were related to perceptions and beliefs that have been ingrained over a period of time and hence it needs a longer engagement to be worked on in detail. The Expressive Art sessions helped in this regard. Expressive arts therapy combines psychology and the creative process to promote emotional growth and healing. The study was conducted at two places: one a geriatric centre and the other, a palliative care centre. The study revealed that concerns and challenges would not be identical across the nursing community or across similar types of health care organizations but would be specific to each organization or centre as the circumstances and set-up at each place would be different. At the geriatric centre, stress and burnout emerged as the main concerns while at the palliative care centre, the main concern that came up was around the difficulty the nurses faced in expressing emotions and in communicating their feelings. The objective analysis of the results of the study indicated how longer-term engagements using Expressive Arts as the modality helped the nurses have better awareness of their emotions and helped them develop tools of self-care tools while also tapping into their emotions to express and experience. The process of eliciting the main concerns from the nurses using a Playback Theatre performance and then following that with subsequent sessions of expressive arts helped the nurses in the way nurses approached their job and the reduced level of overwhelm that they felt. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=palliative%20care" title="palliative care">palliative care</a>, <a href="https://publications.waset.org/abstracts/search?q=nurses" title=" nurses"> nurses</a>, <a href="https://publications.waset.org/abstracts/search?q=self-care" title=" self-care"> self-care</a>, <a href="https://publications.waset.org/abstracts/search?q=expressive%20arts" title=" expressive arts"> expressive arts</a>, <a href="https://publications.waset.org/abstracts/search?q=playback%20theatre" title=" playback theatre"> playback theatre</a> </p> <a href="https://publications.waset.org/abstracts/156026/self-care-and-emotional-wellbeing-of-nurses-using-playback-theatre-and-expressive-arts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156026.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">120</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">13384</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">92</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">13383</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">90</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">13382</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">13381</span> Bringing Thai Folk Song "Laos Duang Duen" to Teaching in Western Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wongwarit%20Nipitwittaya">Wongwarit Nipitwittaya</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The objectives of this research is bringing folk song with the teaching of Western music were to examine to investigate, to compare, develop the skill, technique, knowledge of Thai folk song and to preserve folk song of Thailand to be known more widely also learn Thai culture from Thai folk song. Study by bringing Thailand folk song is widely known for learning with Western music in course brass performance. Bringing the melody of Thai folk music and changing patterns to western music notes for appropriate on brass performance. A sample was selected from brass students, using research by assessment of knowledge from test after used Thai folk song lesson. The lesson focus for scales and key signature in western music by divided into two groups, the one study by used research tools and another one used simple lesson and a collection of research until testing. The results of the study were as follows: 1. There are good development skill form research method 2. Sound recognition can be even better. The study was a qualitative research and data collection by observation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Thai%20folk%20song" title="Thai folk song">Thai folk song</a>, <a href="https://publications.waset.org/abstracts/search?q=brass%20instrument" title=" brass instrument"> brass instrument</a>, <a href="https://publications.waset.org/abstracts/search?q=key%20signature" title=" key signature"> key signature</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/47878/bringing-thai-folk-song-laos-duang-duen-to-teaching-in-western-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/47878.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">679</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">13380</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">13379</span> Assessment of Music Performance Anxiety in Portuguese Children and Adolescents</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pedro%20Dias">Pedro Dias</a>, <a href="https://publications.waset.org/abstracts/search?q=Lurdes%20Verissimo"> Lurdes Verissimo</a>, <a href="https://publications.waset.org/abstracts/search?q=Maria%20Joao%20Baptista"> Maria Joao Baptista</a>, <a href="https://publications.waset.org/abstracts/search?q=Ana%20Pinheiro"> Ana Pinheiro</a>, <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Oliveira-Silva"> Patricia Oliveira-Silva</a>, <a href="https://publications.waset.org/abstracts/search?q=Sofia%20Serra"> Sofia Serra</a>, <a href="https://publications.waset.org/abstracts/search?q=Daniela%20Coimbra"> Daniela Coimbra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> To achieve a high standard in performance, a musician must be well in all aspects of health (physical, mental and social). Anxiety in performance is related to the high level of coordination and skill needed in performance, as well as to the public evaluation of the performer. It affects some key elements of performance, such as concentration, memory, motor coordination, and relaxation. This work presents two studies focused on the adaptation and evaluation of the psychometric properties of the Music Performance Anxiety Inventory (MPAI-A) in young Portuguese music students. The first study was conducted with a sample of 161 adolescent music students, who responded to the Portuguese version of this instrument, and to the State-Trait Anxiety Inventory for Children (STAIC-c2). Validity and reliability were examined, and this measure revealed robust psychometric properties in this sample. The second study aimed to adapt the MPAI to a younger population (one hundred 8-10 years-old music students). Again, the MPAI and the STAIC c-2 were used in this study. Exploratory factor analysis, correlations, and internal consistency were used to evaluate the final children version of the instrument (MPAI-C), presenting a different factor structure compared to the adolescent version (10 items organized in 2 factors) and high levels of reliability and convergent validity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=anxiety" title="anxiety">anxiety</a>, <a href="https://publications.waset.org/abstracts/search?q=assessment" title=" assessment"> assessment</a>, <a href="https://publications.waset.org/abstracts/search?q=children%20and%20adolescents" title=" children and adolescents"> children and adolescents</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20performance" title=" music performance"> music performance</a> </p> <a href="https://publications.waset.org/abstracts/98451/assessment-of-music-performance-anxiety-in-portuguese-children-and-adolescents" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98451.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">190</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">13378</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">13377</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">13376</span> Impact on Underprivileged People Practising Expressive Textile Arts: An Exploratory Study Applied to Ex-Offenders in Hong Kong</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jin%20Lam">Jin Lam</a>, <a href="https://publications.waset.org/abstracts/search?q=Joe%20Au"> Joe Au</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims to investigate the impact of practicing expressive textile arts on the underprivileged people namely, ex-offenders after taking a three-month textile arts and fashion creativity workshops from a service-learning subject, offered by the Hong Kong Polytechnic University in May 2016. In this service-learning subject, the subject lecturers, students and ex-offenders co-designed various expressive textile artworks together. During the creative process, the ex-offenders could enhance their self-confidence and rebuild a satisfactory identity through practicing expressive textile arts and fashion creativity. Ten textile arts prototypes in the format of fashion garments were presented in a mini fashion show and an exhibition, both at the Hong Kong Polytechnic University in July 2016. A quantitative research method was adopted and a questionnaire survey was conducted in this study. The research findings suggest that positive impacts are found on the ex-offenders’ perceptions of ‘feelings and thoughts before attending the workshops’, ‘feelings and thoughts during the workshops’, ‘attitude toward the textile arts materials’, and ‘attitude toward the expressive textile artworks’. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creativity" title="creativity">creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a>, <a href="https://publications.waset.org/abstracts/search?q=expressive%20textile%20arts" title=" expressive textile arts"> expressive textile arts</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion" title=" fashion"> fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=underprivileged%20people" title=" underprivileged people"> underprivileged people</a> </p> <a href="https://publications.waset.org/abstracts/81405/impact-on-underprivileged-people-practising-expressive-textile-arts-an-exploratory-study-applied-to-ex-offenders-in-hong-kong" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81405.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">389</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">13375</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">13374</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">13373</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">13372</span> The Arts in Medicine and Health: A Necessity for Evidence-Based Health Systems</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alan%20S.%20Weber">Alan S. Weber</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This contribution reviews the current biomedical and qualitative arts research on arts-in-health interventions to improve both individual and population health outcomes. Arts therapies–for example, music therapy with roots in Aristoxenus’s Ἁρμονικὰ στοιχεῖα and the Pythagorean sect–have long been employed in therapeutic contexts. However, the 20th century witnessed the increasing use of the visual and plastic arts (drawing, painting, sculpting), performing arts (drama and dance), and other expressive arts modalities into occupational therapy, well-being medicine, and psychological and psychiatric counselling, diagnosis, and treatment. A significant body of peer-reviewed evidence in the medical and neurological sciences on the role of arts-in-health has developed, and specifically, research on music and art therapy has led to their inclusion within the current biomedical paradigm of evidence-based practice. The arts cannot only aid in public and population health promotion (promoting healthy behaviors and lifestyles, preventing disease onset) but also in addressing psychological issues (regulation of emotion; stress, anxiety, and depression reduction), behavioural issues (basic life skills, coping), and physiological response (immune system function, hormonal regulation, homeostatis). Working as a cross-disciplinary researcher in the arts in an American medical college, the author has developed several successful arts-in-health programs at the national and international level. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=arts-in-health" title="arts-in-health">arts-in-health</a>, <a href="https://publications.waset.org/abstracts/search?q=evidence%20based%20medicine" title=" evidence based medicine"> evidence based medicine</a>, <a href="https://publications.waset.org/abstracts/search?q=arts%20for%20health" title=" arts for health"> arts for health</a>, <a href="https://publications.waset.org/abstracts/search?q=expressive%20arts%20therapies" title=" expressive arts therapies"> expressive arts therapies</a> </p> <a href="https://publications.waset.org/abstracts/171242/the-arts-in-medicine-and-health-a-necessity-for-evidence-based-health-systems" class="btn btn-primary btn-sm">Procedia</a> <a 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