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Song</title> <meta name="description" content="Search results for: Liuyang Song"> <meta name="keywords" content="Liuyang Song"> <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="Liuyang Song"> <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> 366</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: Liuyang Song</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">366</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">678</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">365</span> A Mechanical Diagnosis Method Based on Vibration Fault Signal down-Sampling and the Improved One-Dimensional Convolutional Neural Network</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bowei%20Yuan">Bowei Yuan</a>, <a href="https://publications.waset.org/abstracts/search?q=Shi%20Li"> Shi Li</a>, <a href="https://publications.waset.org/abstracts/search?q=Liuyang%20Song"> Liuyang Song</a>, <a href="https://publications.waset.org/abstracts/search?q=Huaqing%20Wang"> Huaqing Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Lingli%20Cui"> Lingli Cui</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Convolutional neural networks (CNN) have received extensive attention in the field of fault diagnosis. Many fault diagnosis methods use CNN for fault type identification. However, when the amount of raw data collected by sensors is massive, the neural network needs to perform a time-consuming classification task. In this paper, a mechanical fault diagnosis method based on vibration signal down-sampling and the improved one-dimensional convolutional neural network is proposed. Through the robust principal component analysis, the low-rank feature matrix of a large amount of raw data can be separated, and then down-sampling is realized to reduce the subsequent calculation amount. In the improved one-dimensional CNN, a smaller convolution kernel is used to reduce the number of parameters and computational complexity, and regularization is introduced before the fully connected layer to prevent overfitting. In addition, the multi-connected layers can better generalize classification results without cumbersome parameter adjustments. The effectiveness of the method is verified by monitoring the signal of the centrifugal pump test bench, and the average test accuracy is above 98%. When compared with the traditional deep belief network (DBN) and support vector machine (SVM) methods, this method has better performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fault%20diagnosis" title="fault diagnosis">fault diagnosis</a>, <a href="https://publications.waset.org/abstracts/search?q=vibration%20signal%20down-sampling" title=" vibration signal down-sampling"> vibration signal down-sampling</a>, <a href="https://publications.waset.org/abstracts/search?q=1D-CNN" title=" 1D-CNN"> 1D-CNN</a> </p> <a href="https://publications.waset.org/abstracts/135216/a-mechanical-diagnosis-method-based-on-vibration-fault-signal-down-sampling-and-the-improved-one-dimensional-convolutional-neural-network" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135216.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">131</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">364</span> A Corpus Based Study of Eileen Chang’s Self-Translating Style: A Case Study on The Rice Sprout Song</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yi-Wei%20Huang">Yi-Wei Huang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Eileen Chang is a well-known writer of modern Chinese literature. She is also a translator that publishes her self-translation The Rice Sprout Song. The purpose of the study is to identify the style of Eileen Chang’s self-translations by corpora, especially in the case of The Rice Sprout Song. The Rice Sprout Song is first written in English and then translated into Chinese by the author herself. The procedure of translation is complicated due to the bilingual transition by the same person. Therefore, the aim of the study is to identify Eileen Chang’s style on her self-translation by comparing her works The Old Man and the Sea, The Rice Sprout Song, and The Rouge of The North. The study uses computer-aided software like AntConc, Notepad++, StanfordCoreNLP, and Python to analyze the style of the works, especially focuses on reduplications and the composition of the sentences. Reduplications are commonly seen in Eileen Chang’s works, and they often appear with colors or onomatopoeia. With these criteria, the style of self-translating can be detected and analyzed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=corpora" title="corpora">corpora</a>, <a href="https://publications.waset.org/abstracts/search?q=Eileen%20Chang" title=" Eileen Chang"> Eileen Chang</a>, <a href="https://publications.waset.org/abstracts/search?q=reduplications" title=" reduplications"> reduplications</a>, <a href="https://publications.waset.org/abstracts/search?q=self-translation" title=" self-translation"> self-translation</a> </p> <a href="https://publications.waset.org/abstracts/98317/a-corpus-based-study-of-eileen-changs-self-translating-style-a-case-study-on-the-rice-sprout-song" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98317.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">243</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">363</span> Using a Character’s Inner Monologue for Song Analysis </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Robert%20Roznowski">Robert Roznowski</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The thought process of the character is never more evident than when singing alone onstage. The composer scores the emotional state and the lyricist voices the inner conflict as the character shares with an audience her or his deepest feelings. It is at these moments that a character may be thought of as voicing her or his inner monologue. Using examples from several musical theatre songs, this presentation will look at a codified approach to analyze a song from a more psychological perspective. Using the clues from the score, traditional character analysis and a psychological-based scoring method an actor may explore more fully inhabit and express the sung and unsung thoughts of the character. The approach yields a richer and more complex approach to acting the song. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=acting" title="acting">acting</a>, <a href="https://publications.waset.org/abstracts/search?q=analysis" title=" analysis"> analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20theatre" title=" musical theatre"> musical theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=psychology" title=" psychology"> psychology</a> </p> <a href="https://publications.waset.org/abstracts/81133/using-a-characters-inner-monologue-for-song-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81133.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">479</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">362</span> Character Bioacoustics White-Rumped Shama Copsychus malabaricus as a Cage-Bird</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Novia%20Liza%20Rahmawaty">Novia Liza Rahmawaty</a>, <a href="https://publications.waset.org/abstracts/search?q=Wilson%20Novarino"> Wilson Novarino</a>, <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Nazri%20Janra"> Muhammad Nazri Janra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Indonesian people love to keep songbird in cage to be competed, such as White-rumped Shama (Copsychus malabaricus). Each individual White-rumped Shama will be pitted their song and try to imitate the rhythm of the enemy with its songs. This study was conducted to see the natural song characters of White-rumped Shama and song character from birds that had been trained and comparison in three different places in West Sumatra. Individuals were recorded totaling 30 individuals in three areas in West Sumatra namely Padang, Solok and Pariaman and sound recordings of White-rumped Shama in nature were taken in HBW and Xenocanto website. Research has done conducted from June to October 2016 at place group practice of birdsongs and recorded at 16:00 to 18:00 pm. These voices were analyzed by Avisoft SAS-Lab Lite inform of oscillogram and sonogram. Measured parameters included: the length of voice, repertoire size, number of syllable type, syllable repertoire, and song repertoire. The results showed that repertoire composition of White-rumped Shama in nature less than the sound which was trained and has repeat songs composed by the same type of repertoire composition. Comparison of song character White-rumped Shama in three different places in West Sumatra, those birds in Solok had the best quality of voice or song than Padang and Pariaman. It showed by higher repertoire composition in Solok. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=repertoire%20composition" title="repertoire composition">repertoire composition</a>, <a href="https://publications.waset.org/abstracts/search?q=song%20characters" title=" song characters"> song characters</a>, <a href="https://publications.waset.org/abstracts/search?q=songbird" title=" songbird"> songbird</a>, <a href="https://publications.waset.org/abstracts/search?q=white-rumped%20shama" title=" white-rumped shama"> white-rumped shama</a> </p> <a href="https://publications.waset.org/abstracts/67049/character-bioacoustics-white-rumped-shama-copsychus-malabaricus-as-a-cage-bird" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67049.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">327</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">361</span> The Analysis of Kru Luen Sun Tharawatin’s Tableau Vivant Singing Style</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pansak%20Vandee">Pansak Vandee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research aims to study the background and format of Tableau Vivant suite song and the singing style of Kru Luen SunTharawatin. The data is gained by content analysis and the in-depth interview from experts on Tableau Vivant suite song, as well as an analysis on singing style of Kru Luen SunTharawatin. The research results are as follows: (1) The Tableau Vivant suite song first appeared in the reign of King Rama V, composing by Prince Naris, for paralleling with the still picture presentation offered to Crown Prince Maha Vajirunahit, which was adapted from the French performance Tableau Vivant. The performance is assigned to perform by the Crown Prince’s younger brother and other young royal siblings. The 8 suite songs were played by archeological Thai orchestra (Piphat duek dam ban) and were restored once again in the reign of King Rama VII for the pleasure of the king, being sung by the Royal Entertainment Department Officers. (2) The format of Tableau Vivant suite song is a short series song, composing a double strand of 4 to 6 songs with 6 suite songs in 8 suites, in the form of a combination of suite lyric – Unnarut (the play narrated by King Rama I) and Phra Pen Chao (the homage to Brahman gods in Na Phat song); and suite song – Khom Dam Din with Khmer tone; the Three Kingdoms with Chinese tone; Rajadhirat with Burmese and Mon tone; Nitra Chakrit (the Arabian Night) with Arabian tone; Cinderella with Western tone; Phra Lor in Laotian tone. (3) The Tableau Vivant suite singing style of Kru Luen SunTharawatin is based on Phra-ya Sanor Duriyang (Cham SunTharawatin) style, which was newly created for Kru Luen, his daughter. The five suite songs Khom Dam Din, the Three Kingdoms, Rajadhirat, Nitra Chakrit (the Arabian Night), Cinderella, Phra Lor have their distinguish tones according to their language accents. The songs were recorded in the album of the Royal Institute of Thailand in 1931; but, unfortunately, the entire album was completely destroyed during the World War II in Germany. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Krue%20Luen%20Sun%20Tharawatin" title="Krue Luen Sun Tharawatin">Krue Luen Sun Tharawatin</a>, <a href="https://publications.waset.org/abstracts/search?q=tableau%20vivant" title=" tableau vivant"> tableau vivant</a>, <a href="https://publications.waset.org/abstracts/search?q=singing%20style" title=" singing style"> singing style</a>, <a href="https://publications.waset.org/abstracts/search?q=suite%20song" title=" suite song"> suite song</a> </p> <a href="https://publications.waset.org/abstracts/10678/the-analysis-of-kru-luen-sun-tharawatins-tableau-vivant-singing-style" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/10678.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">340</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">360</span> Ariettes Oublieés of Claude Debussy: An Interpretive Approach of Two Songs of the Composer’s Compilation through a Comparative Study of Four Contemporary Recordings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Giannaki%20Natalia">Giannaki Natalia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study examines the songs compilation of Claude Debussy Ariettes Oublieés for voice and piano and especially the songs C’est l’extase langoureuse and Chevaux des bois of the compilation in order to present some interpretational suggestions for the singer and the piano accompanist for a more complete knowledge of the style of French singing of this period. First, the historical frame of the French song (in which this compilation is integrated) is introduced, as well as the historical frame of this work, and then, the most predominant interpretational parameters of the impressionistic French song are presented from testimonies of Claude Debussy and his contemporaries. Moreover, a brief analysis of the verses that turned into music by Debussy from the collection of poems by the famous French poet Paul Verlaine for subsequent interpretative suggestions is integrated into the research. The purpose of this work is not to elucidate the work from a harmonic or morphological point of view. Instead, this research primarily attempts to delve into performance issues through a comparison of four contemporary recordings of the work, from which it will be proved whether the principles of impressionism that were established are respected and how they affect these songs, as well as how much the personal viewpoint of each interpreter intervenes. The latter intends to fill the research gap in the interpretation of Debussy's songs and to guide the performers. To conclude, it will be discovered whether there is any recording closest to a French song’s interpretation principles and how a complete interpretation of a French song should be. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ariettes%20Oublie%C3%A9s" title="Ariettes Oublieés">Ariettes Oublieés</a>, <a href="https://publications.waset.org/abstracts/search?q=Claude%20Debussy" title=" Claude Debussy"> Claude Debussy</a>, <a href="https://publications.waset.org/abstracts/search?q=comparison" title=" comparison"> comparison</a>, <a href="https://publications.waset.org/abstracts/search?q=French%20song" title=" French song"> French song</a>, <a href="https://publications.waset.org/abstracts/search?q=impressionism" title=" impressionism"> impressionism</a>, <a href="https://publications.waset.org/abstracts/search?q=interpretation" title=" interpretation"> interpretation</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20practice" title=" performance practice"> performance practice</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20performance" title=" music performance"> music performance</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=recordings" title=" recordings"> recordings</a>, <a href="https://publications.waset.org/abstracts/search?q=singing" title=" singing"> singing</a>, <a href="https://publications.waset.org/abstracts/search?q=voice" title=" voice"> voice</a> </p> <a href="https://publications.waset.org/abstracts/171781/ariettes-oubliees-of-claude-debussy-an-interpretive-approach-of-two-songs-of-the-composers-compilation-through-a-comparative-study-of-four-contemporary-recordings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/171781.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">94</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">359</span> Effective Parameter Selection for Audio-Based Music Mood Classification for Christian Kokborok Song: A Regression-Based Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sanchali%20Das">Sanchali Das</a>, <a href="https://publications.waset.org/abstracts/search?q=Swapan%20Debbarma"> Swapan Debbarma</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music mood classification is developing in both the areas of music information retrieval (MIR) and natural language processing (NLP). Some of the Indian languages like Hindi English etc. have considerable exposure in MIR. But research in mood classification in regional language is very less. In this paper, powerful audio based feature for Kokborok Christian song is identified and mood classification task has been performed. Kokborok is an Indo-Burman language especially spoken in the northeastern part of India and also some other countries like Bangladesh, Myanmar etc. For performing audio-based classification task, useful audio features are taken out by jMIR software. There are some standard audio parameters are there for the audio-based task but as known to all that every language has its unique characteristics. So here, the most significant features which are the best fit for the database of Kokborok song is analysed. The regression-based model is used to find out the independent parameters that act as a predictor and predicts the dependencies of parameters and shows how it will impact on overall classification result. For classification WEKA 3.5 is used, and selected parameters create a classification model. And another model is developed by using all the standard audio features that are used by most of the researcher. In this experiment, the essential parameters that are responsible for effective audio based mood classification and parameters that do not significantly change for each of the Christian Kokborok songs are analysed, and a comparison is also shown between the two above model. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Christian%20Kokborok%20song" title="Christian Kokborok song">Christian Kokborok song</a>, <a href="https://publications.waset.org/abstracts/search?q=mood%20classification" title=" mood classification"> mood classification</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20information%20retrieval" title=" music information retrieval"> music information retrieval</a>, <a href="https://publications.waset.org/abstracts/search?q=regression" title=" regression"> regression</a> </p> <a href="https://publications.waset.org/abstracts/97113/effective-parameter-selection-for-audio-based-music-mood-classification-for-christian-kokborok-song-a-regression-based-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/97113.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">222</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">358</span> Prediction of Music Track Popularity: A Machine Learning Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Syed%20Atif%20Hassan">Syed Atif Hassan</a>, <a href="https://publications.waset.org/abstracts/search?q=Luv%20Mehta"> Luv Mehta</a>, <a href="https://publications.waset.org/abstracts/search?q=Syed%20Asif%20Hassan"> Syed Asif Hassan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Hit song science is a field of investigation wherein machine learning techniques are applied to music tracks in order to extract such features from audio signals which can capture information that could explain the popularity of respective tracks. Record companies invest huge amounts of money into recruiting fresh talents and churning out new music each year. Gaining insight into the basis of why a song becomes popular will result in tremendous benefits for the music industry. This paper aims to extract basic musical and more advanced, acoustic features from songs while also taking into account external factors that play a role in making a particular song popular. We use a dataset derived from popular Spotify playlists divided by genre. We use ten genres (blues, classical, country, disco, hip-hop, jazz, metal, pop, reggae, rock), chosen on the basis of clear to ambiguous delineation in the typical sound of their genres. We feed these features into three different classifiers, namely, SVM with RBF kernel, a deep neural network, and a recurring neural network, to build separate predictive models and choosing the best performing model at the end. Predicting song popularity is particularly important for the music industry as it would allow record companies to produce better content for the masses resulting in a more competitive market. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=classifier" title="classifier">classifier</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20tracks" title=" music tracks"> music tracks</a>, <a href="https://publications.waset.org/abstracts/search?q=popularity" title=" popularity"> popularity</a>, <a href="https://publications.waset.org/abstracts/search?q=prediction" title=" prediction"> prediction</a> </p> <a href="https://publications.waset.org/abstracts/65509/prediction-of-music-track-popularity-a-machine-learning-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65509.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">663</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">357</span> Predicting the Product Life Cycle of Songs on Radio - How Record Labels Can Manage Product Portfolio and Prioritise Artists by Using Machine Learning Techniques</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Claus%20N.%20Holm">Claus N. Holm</a>, <a href="https://publications.waset.org/abstracts/search?q=Oliver%20F.%20Grooss"> Oliver F. Grooss</a>, <a href="https://publications.waset.org/abstracts/search?q=Robert%20A.%20Alphinas"> Robert A. Alphinas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research strives to predict the remaining product life cycle of a song on radio after it has been played for one or two months. The best results were achieved using a k-d tree to calculate the most similar songs to the test songs and use a Random Forest model to forecast radio plays. An 82.78% and 83.44% accuracy is achieved for the two time periods, respectively. This explorative research leads to over 4500 test metrics to find the best combination of models and pre-processing techniques. Other algorithms tested are KNN, MLP and CNN. The features only consist of daily radio plays and use no musical features. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=hit%20song%20science" title="hit song science">hit song science</a>, <a href="https://publications.waset.org/abstracts/search?q=product%20life%20cycle" title=" product life cycle"> product life cycle</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=radio" title=" radio"> radio</a> </p> <a href="https://publications.waset.org/abstracts/127950/predicting-the-product-life-cycle-of-songs-on-radio-how-record-labels-can-manage-product-portfolio-and-prioritise-artists-by-using-machine-learning-techniques" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/127950.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">155</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">356</span> A Comparison of Proxemics and Postural Head Movements during Pop Music versus Matched Music Videos</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Harry%20J.%20Witchel">Harry J. Witchel</a>, <a href="https://publications.waset.org/abstracts/search?q=James%20Ackah"> James Ackah</a>, <a href="https://publications.waset.org/abstracts/search?q=Carlos%20P.%20Santos"> Carlos P. Santos</a>, <a href="https://publications.waset.org/abstracts/search?q=Nachiappan%20Chockalingam"> Nachiappan Chockalingam</a>, <a href="https://publications.waset.org/abstracts/search?q=Carina%20E.%20I.%20Westling"> Carina E. I. Westling</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: Proxemics is the study of how people perceive and use space. It is commonly proposed that when people like or engage with a person/object, they will move slightly closer to it, often quite subtly and subconsciously. Music videos are known to add entertainment value to a pop song. Our hypothesis was that by adding appropriately matched video to a pop song, it would lead to a net approach of the head to the monitor screen compared to simply listening to an audio-only version of the song. Methods: We presented to 27 participants (ages 21.00 ± 2.89, 15 female) seated in front of 47.5 x 27 cm monitor two musical stimuli in a counterbalanced order; all stimuli were based on music videos by the band OK Go: Here It Goes Again (HIGA, boredom ratings (0-100) = 15.00 ± 4.76, mean ± SEM, standard-error-of-the-mean) and Do What You Want (DWYW, boredom ratings = 23.93 ± 5.98), which did not differ in boredom elicited (P = 0.21, rank-sum test). Each participant experienced each song only once, and one song (counterbalanced) as audio-only versus the other song as a music video. The movement was measured by video-tracking using Kinovea 0.8, based on recording from a lateral aspect; before beginning, each participant had a reflective motion tracking marker placed on the outer canthus of the left eye. Analysis of the Kinovea X-Y coordinate output in comma-separated-variables format was performed in Matlab, as were non-parametric statistical tests. Results: We found that the audio-only stimuli (combined for both HIGA and DWYW, mean ± SEM, 35.71 ± 5.36) were significantly more boring than the music video versions (19.46 ± 3.83, P = 0.0066 Wilcoxon Signed Rank Test (WSRT), Cohen's d = 0.658, N = 28). We also found that participants' heads moved around twice as much during the audio-only versions (speed = 0.590 ± 0.095 mm/sec) compared to the video versions (0.301 ± 0.063 mm/sec, P = 0.00077, WSRT). However, the participants' mean head-to-screen distances were not detectably smaller (i.e. head closer to the screen) during the music videos (74.4 ± 1.8 cm) compared to the audio-only stimuli (73.9 ± 1.8 cm, P = 0.37, WSRT). If anything, during the audio-only condition, they were slightly closer. Interestingly, the ranges of the head-to-screen distances were smaller during the music video (8.6 ± 1.4 cm) compared to the audio-only (12.9 ± 1.7 cm, P = 0.0057, WSRT), the standard deviations were also smaller (P = 0.0027, WSRT), and their heads were held 7 mm higher (video 116.1 ± 0.8 vs. audio-only 116.8 ± 0.8 cm above floor, P = 0.049, WSRT). Discussion: As predicted, sitting and listening to experimenter-selected pop music was more boring than when the music was accompanied by a matched, professionally-made video. However, we did not find that the proxemics of the situation led to approaching the screen. Instead, adding video led to efforts to control the head to a more central and upright viewing position and to suppress head fidgeting. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=boredom" title="boredom">boredom</a>, <a href="https://publications.waset.org/abstracts/search?q=engagement" title=" engagement"> engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20videos" title=" music videos"> music videos</a>, <a href="https://publications.waset.org/abstracts/search?q=posture" title=" posture"> posture</a>, <a href="https://publications.waset.org/abstracts/search?q=proxemics" title=" proxemics"> proxemics</a> </p> <a href="https://publications.waset.org/abstracts/110738/a-comparison-of-proxemics-and-postural-head-movements-during-pop-music-versus-matched-music-videos" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/110738.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">167</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">355</span> The Impact of Artificial Intelligence on Student’s Behavior and Mind</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Makarios%20Mosaad%20Thabet%20Ibrahim">Makarios Mosaad Thabet Ibrahim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> the existing context paper targets to give the important position of ‘scholar voice’ and the track trainer inside the study room, which contributes to greater scholar-focused song training. The goal is to consciousness at the capabilities of the scholar voice via the tune spectrum, which has been born in the music school room, and the instructor’s methodologies and techniques used within the song classroom. The tune curriculum, the principles of pupil-centered song schooling, and the function of students and teachers as tune ambassadors have been taken into consideration the essential song parameters of scholar voice. The scholar- voice is a well worth-mentioning factor of a scholar-focused training, and all instructors have to take into account and sell its life in their lecture room. student affairs services play a critical function in contributing to the wholistic development and success of college students as they progress through their educational careers. The examine incorporates a multifaceted examination of student affairs carrier offerings among 10 personal and three public Baghdad universities. scholar affairs administrators (thirteen) have been surveyed together with over 300 students to determine university-subsidized services and pupil pride and attention. The pupil affairs service studies findings various drastically among non-public and public establishments and people that observed a country wide and international curriculum. Universities need to persist to conform to changing demographics and technological improvements to enhance students' private and academic successes, and pupil affairs services are key to preparing graduates to thrive in a diverse international world. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=college%20student-athletes" title="college student-athletes">college student-athletes</a>, <a href="https://publications.waset.org/abstracts/search?q=self-concept" title=" self-concept"> self-concept</a>, <a href="https://publications.waset.org/abstracts/search?q=use%20of%20social%20media%20training" title=" use of social media training"> use of social media training</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20networking%20student%20affairs" title=" social networking student affairs"> social networking student affairs</a>, <a href="https://publications.waset.org/abstracts/search?q=student%20success" title=" student success"> student success</a>, <a href="https://publications.waset.org/abstracts/search?q=higher%20education" title=" higher education"> higher education</a>, <a href="https://publications.waset.org/abstracts/search?q=Iraq" title=" Iraq"> Iraq</a>, <a href="https://publications.waset.org/abstracts/search?q=universities" title=" universities"> universities</a>, <a href="https://publications.waset.org/abstracts/search?q=Baghdad%20student%27s%20voice" title=" Baghdad student's voice"> Baghdad 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/189421/the-impact-of-artificial-intelligence-on-students-behavior-and-mind" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/189421.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">33</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">354</span> Using Virtual Reality Exergaming to Improve Health of College Students</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Juanita%20Wallace">Juanita Wallace</a>, <a href="https://publications.waset.org/abstracts/search?q=Mark%20Jackson"> Mark Jackson</a>, <a href="https://publications.waset.org/abstracts/search?q=Bethany%20Jurs"> Bethany Jurs</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: Exergames, VR games used as a form of exercise, are being used to reduce sedentary lifestyles in a vast number of populations. However, there is a distinct lack of research comparing the physiological response during VR exergaming to that of traditional exercises. The purpose of this study was to create a foundationary investigation establishing changes in physiological responses resulting from VR exergaming in a college aged population. Methods: In this IRB approved study, college aged students were recruited to play a virtual reality exergame (Beat Saber) on the Oculus Quest 2 (Facebook, 2021) in either a control group (CG) or training group (TG). Both groups consisted of subjects who were not habitual users of virtual reality. The CG played VR one time per week for three weeks and the TG played 150 min/week three weeks. Each group played the same nine Beat Saber songs, in a randomized order, during 30 minute sessions. Song difficulty was increased during play based on song performance. Subjects completed a pre- and posttests at which the following was collected: • Beat Saber Game Metrics: song level played, song score, number of beats completed per song and accuracy (beats completed/total beats) • Physiological Data: heart rate (max and avg.), active calories • Demographics Results: A total of 20 subjects completed the study; nine in the CG (3 males, 6 females) and 11 (5 males, 6 females) in the TG. • Beat Saber Song Metrics: The TG improved performance from a normal/hard difficulty to hard/expert. The CG stayed at the normal/hard difficulty. At the pretest there was no difference in game accuracy between groups. However, at the posttest the CG had a higher accuracy. • Physiological Data (Table 1): Average heart rates were similar between the TG and CG at both the pre- and posttest. However, the TG expended more total calories. Discussion: Due to the lack of peer reviewed literature on c exergaming using Beat Saber, the results of this study cannot be directly compared. However, the results of this study can be compared with the previously established trends for traditional exercise. In traditional exercise, an increase in training volume equates to increased efficiency at the activity. The TG should naturally increase in difficulty at a faster rate than the CG because they played 150 hours per week. Heart rate and caloric responses also increase during traditional exercise as load increases (i.e. speed or resistance). The TG reported an increase in total calories due to a higher difficulty of play. The song accuracy decreases in the TG can be explained by the increased difficulty of play. Conclusion: VR exergaming is comparable to traditional exercise for loads within the 50-70% of maximum heart rate. The ability to use VR for health could motivate individuals who do not engage in traditional exercise. In addition, individuals in health professions can and should promote VR exergaming as a viable way to increase physical activity and improve health in their clients/patients. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality" title="virtual reality">virtual reality</a>, <a href="https://publications.waset.org/abstracts/search?q=exergaming" title=" exergaming"> exergaming</a>, <a href="https://publications.waset.org/abstracts/search?q=health" title=" health"> health</a>, <a href="https://publications.waset.org/abstracts/search?q=heart%20rate" title=" heart rate"> heart rate</a>, <a href="https://publications.waset.org/abstracts/search?q=wellness" title=" wellness"> wellness</a> </p> <a href="https://publications.waset.org/abstracts/143948/using-virtual-reality-exergaming-to-improve-health-of-college-students" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143948.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">187</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">353</span> Visual, Zoological Metaphors and 'Urtiin Duu' (Long Song) in Alshaa, Inner Mongolia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Oyuna%20Weina">Oyuna Weina</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study examines how musicians use visual and zoological metaphors for singing technique and voice quality in a genre of traditional music called urtiin duu (‘long song’) in Alshaa, Inner Mongolia, China. Previous studies have discussed melodic contour in Mongol music, but little study of the intersection of singing technique, visual and zoological metaphors has yet been undertaken. The purpose of this study is to address this lack by analysing urtiin duu itself, traditional pedagogy and performances, all of which have been inspired and are assessed by reference to nature and mobile pastoral herding practices. This study investigates the visual and zoological metaphors related to urtiin duu especially colour, the shape of the circle and animals in the Mongol community. Urtiin duu singing is associated with certain colours in song texts, in selection of repertoire and in the status of singers. Musicians also use colour to describe timbre. These colours in turn reference worship of nature, religions, and daily practices of most Mongols in Alshaa. Moreover, voice quality and singing technique are often related to the animals not only in song text but also in the approach to breathing and to melodic contour. Additionally, the concept of boronhoi (‘the shape of circle’), not only is applied to the melodic contour but also to the voice quality and singing technique. These three factors illustrate the connections among nature, spiritual world and everyday herding life of Mongols. These different connections provide evidence of multi-layered meanings. In contemporary Alshaa, urtiin duu singers received Western musical training from the city and returned to their homelands to perform urtiin duu. In doing so, they are also trying to reconnect with the history, nature and spiritual world in order to achieve their ideal sound. Within a multicultural society, singers negotiate amongst themselves, and with ethnic groups, audiences and government officials. The power of the metaphor therefore assists and reconnects the strength of regional identity and ethnic identity in Alshaa. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alshaa" title="Alshaa">Alshaa</a>, <a href="https://publications.waset.org/abstracts/search?q=urtiin%20duu" title=" urtiin duu"> urtiin duu</a>, <a href="https://publications.waset.org/abstracts/search?q=visual" title=" visual"> visual</a>, <a href="https://publications.waset.org/abstracts/search?q=zoological%20metaphors" title=" zoological metaphors"> zoological metaphors</a> </p> <a href="https://publications.waset.org/abstracts/49041/visual-zoological-metaphors-and-urtiin-duu-long-song-in-alshaa-inner-mongolia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/49041.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">364</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">352</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">351</span> Neural Networks Underlying the Generation of Neural Sequences in the HVC</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zeina%20Bou%20Diab">Zeina Bou Diab</a>, <a href="https://publications.waset.org/abstracts/search?q=Arij%20Daou"> Arij Daou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The neural mechanisms of sequential behaviors are intensively studied, with songbirds a focus for learned vocal production. We are studying the premotor nucleus HVC at a nexus of multiple pathways contributing to song learning and production. The HVC consists of multiple classes of neuronal populations, each has its own cellular, electrophysiological and functional properties. During singing, a large subset of motor cortex analog-projecting HVCRA neurons emit a single 6-10 ms burst of spikes at the same time during each rendition of song, a large subset of basal ganglia-projecting HVCX neurons fire 1 to 4 bursts that are similarly time locked to vocalizations, while HVCINT neurons fire tonically at average high frequency throughout song with prominent modulations whose timing in relation to song remains unresolved. This opens the opportunity to define models relating explicit HVC circuitry to how these neurons work cooperatively to control learning and singing. We developed conductance-based Hodgkin-Huxley models for the three classes of HVC neurons (based on the ion channels previously identified from in vitro recordings) and connected them in several physiologically realistic networks (based on the known synaptic connectivity and specific glutaminergic and gabaergic pharmacology) via different architecture patterning scenarios with the aim to replicate the in vivo firing patterning behaviors. We are able, through these networks, to reproduce the in vivo behavior of each class of HVC neurons, as shown by the experimental recordings. The different network architectures developed highlight different mechanisms that might be contributing to the propagation of sequential neural activity (continuous or punctate) in the HVC and to the distinctive firing patterns that each class exhibits during singing. Examples of such possible mechanisms include: 1) post-inhibitory rebound in HVCX and their population patterns during singing, 2) different subclasses of HVCINT interacting via inhibitory-inhibitory loops, 3) mono-synaptic HVCX to HVCRA excitatory connectivity, and 4) structured many-to-one inhibitory synapses from interneurons to projection neurons, and others. Replication is only a preliminary step that must be followed by model prediction and testing. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=computational%20modeling" title="computational modeling">computational modeling</a>, <a href="https://publications.waset.org/abstracts/search?q=neural%20networks" title=" neural networks"> neural networks</a>, <a href="https://publications.waset.org/abstracts/search?q=temporal%20neural%20sequences" title=" temporal neural sequences"> temporal neural sequences</a>, <a href="https://publications.waset.org/abstracts/search?q=ionic%20currents" title=" ionic currents"> ionic currents</a>, <a href="https://publications.waset.org/abstracts/search?q=songbird" title=" songbird"> songbird</a> </p> <a href="https://publications.waset.org/abstracts/176727/neural-networks-underlying-the-generation-of-neural-sequences-in-the-hvc" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/176727.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">70</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">350</span> Interlingual Melodious Constructions: Romanian Translation of References to Songs in James Joyce’s Ulysses</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Andra-Iulia%20Ursa">Andra-Iulia Ursa</a> </p> <p class="card-text"><strong>Abstract:</strong></p> James Joyce employs several unconventional stylistic features in this landmark novel meant to experiment with language. The episode known as “Sirens” is entirely conceived around music and linguistic structures subordinated to sound. However, the aspiration to the condition of music is reflected throughout this entire literary work, as musical effects are echoed systematically. The numerous melodies scattered across the narrative play an important role in enhancing the thoughts and feelings that pass through the minds of the characters. Often the lyrics are distorted or interweaved with other words, preoccupations or memories, intensifying the stylistic effect. The Victorian song “Love’s old sweet song” is one of the most commonly referred to and meaningful musical allusions in Ulysses, becoming a leitmotif of infidelity. The lyrics of the song “M’appari”, from the opera “Martha”, are compared to an event from Molly and Bloom’s romantic history. Moreover, repeated phrases using words from “The bloom is on the rye” or “The croppy boy” serve as glances into the minds of the characters. Therefore, the central purpose of this study is to shed light on the way musical allusions flit through the episodes from the point of view of the stream of consciousness technique and to compare and analyse how these constructions are rendered into Romanian. Mircea Ivănescu, the single Romanian translator who succeeded in carrying out the translation of the entire ‘stylistic odyssey’, received both praises and disapprovals from the critics. This paper is not meant to call forth eventual flaws of the Romanian translation, but rather to elaborate the complexity of the task. Following an attentive examination and analysis of the two texts, from the point of view of form and meaning of the references to various songs, the conclusions of this study will be able to point out the intricacies of the process of translation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Joyce" title="Joyce">Joyce</a>, <a href="https://publications.waset.org/abstracts/search?q=melodious%20constructions" title=" melodious constructions"> melodious constructions</a>, <a href="https://publications.waset.org/abstracts/search?q=stream%20of%20consciousness" title=" stream of consciousness"> stream of consciousness</a>, <a href="https://publications.waset.org/abstracts/search?q=style" title=" style"> style</a>, <a href="https://publications.waset.org/abstracts/search?q=translation" title=" translation"> translation</a> </p> <a href="https://publications.waset.org/abstracts/118197/interlingual-melodious-constructions-romanian-translation-of-references-to-songs-in-james-joyces-ulysses" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/118197.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">164</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">349</span> Unraveling the Threads of Madness: Henry Russell’s 'The Maniac' as an Advocate for Deinstitutionalization in the Nineteenth Century</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=T.%20J.%20Laws-Nicola">T. J. Laws-Nicola</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Henry Russell was best known as a composer of more than 300 songs. Many of his compositions were popular for both their sentimental texts, as in ‘The Old Armchair,’ and those of a more political nature, such as ‘Woodsman, Spare That Tree!’ Indeed, Russell had written such songs of advocacy as those associated with abolitionism (‘The Slave Ship’) and environmentalism (‘Woodsman, Spare that Tree!’). ‘The Maniac’ is his only composition addressing the issue of institutionalization. The text is borrowed and adapted from the monodrama The Captive by M.G. ‘Monk’ Lewis. Through an analysis of form, harmony, melody, text, and thematic development and interactions between text and music we can approach a clearer understanding of ‘The Maniac’ and how the text and music interact. Select periodicals, such as The London Times, provide contemporary critical review for ‘The Maniac.’ Additional nineteenth century songs whose texts focus on madness and/or institutionalization will assist in building a stylistic and cultural context for ‘The Maniac.’ Through comparative analyses of ‘The Maniac’ with a body of songs that focus on similar topics, we can approach a clear understanding of the song as a vehicle for deinstitutionalization. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=19th%20century%20song" title="19th century song">19th century song</a>, <a href="https://publications.waset.org/abstracts/search?q=institutionalization" title=" institutionalization"> institutionalization</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20G.%20Lewis" title=" M. G. Lewis"> M. G. Lewis</a>, <a href="https://publications.waset.org/abstracts/search?q=Henry%20Russell" title=" Henry Russell"> Henry Russell</a> </p> <a href="https://publications.waset.org/abstracts/38248/unraveling-the-threads-of-madness-henry-russells-the-maniac-as-an-advocate-for-deinstitutionalization-in-the-nineteenth-century" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/38248.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">535</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">348</span> Vibro-Tactile Equalizer for Musical Energy-Valence Categorization</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dhanya%20Nair">Dhanya Nair</a>, <a href="https://publications.waset.org/abstracts/search?q=Nicholas%20Mirchandani"> Nicholas Mirchandani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Musical haptic systems can enhance a listener’s musical experience while providing an alternative platform for the hearing impaired to experience music. Current music tactile technologies focus on representing tactile metronomes to synchronize performers or encoding musical notes into distinguishable (albeit distracting) tactile patterns. There is growing interest in the development of musical haptic systems to augment the auditory experience, although the haptic-music relationship is still not well understood. This paper represents a tactile music interface that provides vibrations to multiple fingertips in synchronicity with auditory music. Like an audio equalizer, different frequency bands are filtered out, and the power in each frequency band is computed and converted to a corresponding vibrational strength. These vibrations are felt on different fingertips, each corresponding to a different frequency band. Songs with music from different spectrums, as classified by their energy and valence, were used to test the effectiveness of the system and to understand the relationship between music and tactile sensations. Three participants were trained on one song categorized as sad (low energy and low valence score) and one song categorized as happy (high energy and high valence score). They were trained both with and without auditory feedback (listening to the song while experiencing the tactile music on their fingertips and then experiencing the vibrations alone without the music). The participants were then tested on three songs from both categories, without any auditory feedback, and were asked to classify the tactile vibrations they felt into either category. The participants were blinded to the songs being tested and were not provided any feedback on the accuracy of their classification. These participants were able to classify the music with 100% accuracy. Although the songs tested were on two opposite spectrums (sad/happy), the preliminary results show the potential of utilizing a vibrotactile equalizer, like the one presented, for augmenting musical experience while furthering the current understanding of music tactile relationship. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=haptic%20music%20relationship" title="haptic music relationship">haptic music relationship</a>, <a href="https://publications.waset.org/abstracts/search?q=tactile%20equalizer" title=" tactile equalizer"> tactile equalizer</a>, <a href="https://publications.waset.org/abstracts/search?q=tactile%20music" title=" tactile music"> tactile music</a>, <a href="https://publications.waset.org/abstracts/search?q=vibrations%20and%20mood" title=" vibrations and mood"> vibrations and mood</a> </p> <a href="https://publications.waset.org/abstracts/136784/vibro-tactile-equalizer-for-musical-energy-valence-categorization" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/136784.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">347</span> Russia's War Memory: How Tolstoy Uses Homeric Epic to Reconstruct History</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Svetlana%20Yefimenko">Svetlana Yefimenko</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Situated within the fields of Russian literature, Russian history, and classics, this paper investigates the early writing of Leo Tolstoy in terms of his reception and appropriation of Homeric epic for the purposes of reconstructing early 19th-century Russian history. The epic mode, specifically its Homeric variation, was deployed in Tolstoy’s writing on his military experience in the Crimean War to legitimize a version of historical events which positioned Russian soldiers as the inheritors of ancient Greek heroism. With reference to Tolstoy’s oft-neglected Sevastopol’ Sketches, and the short stories The Raid, The Wood-Felling, and Two Hussars, this paper examines how such narratives pass from communicative memory into collective memory both in the Homeric epics and in Tolstoy’s reworking of them, particularly on the literary effects produced when the distance between communicative and collective memory collapses. Within a song culture, epic song functions as memory, and this paper shows how, by modeling his early work on epic, Tolstoy produced texts which act as memory itself, thereby becoming the authoritative version of Russia’s past in the Crimea, often contradicting historical facts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=classical%20reception" title="classical reception">classical reception</a>, <a href="https://publications.waset.org/abstracts/search?q=collective%20memory" title=" collective memory"> collective memory</a>, <a href="https://publications.waset.org/abstracts/search?q=Russian%20history" title=" Russian history"> Russian history</a>, <a href="https://publications.waset.org/abstracts/search?q=Russian%20literature" title=" Russian literature"> Russian literature</a> </p> <a href="https://publications.waset.org/abstracts/114113/russias-war-memory-how-tolstoy-uses-homeric-epic-to-reconstruct-history" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/114113.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">133</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">346</span> Simulation as a Problem-Solving Spotter for System Reliability</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wheyming%20Tina%20Song">Wheyming Tina Song</a>, <a href="https://publications.waset.org/abstracts/search?q=Chi-Hao%20Hong"> Chi-Hao Hong</a>, <a href="https://publications.waset.org/abstracts/search?q=Peisyuan%20Lin"> Peisyuan Lin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> An important performance measure for stochastic manufacturing networks is the system reliability, defined as the probability that the production output meets or exceeds a specified demand. The system parameters include the capacity of each workstation and numbers of the conforming parts produced in each workstation. We establish that eighteen archival publications, containing twenty-one examples, provide incorrect values of the system reliability. The author recently published the Song Rule, which provides the correct analytical system-reliability value; it is, however, computationally inefficient for large networks. In this paper, we use Monte Carlo simulation (implemented in C and Flexsim) to provide estimates for the above-mentioned twenty-one examples. The simulation estimates are consistent with the analytical solution for small networks but is computationally efficient for large networks. We argue here for three advantages of Monte Carlo simulation: (1) understanding stochastic systems, (2) validating analytical results, and (3) providing estimates even when analytical and numerical approaches are overly expensive in computation. Monte Carlo simulation could have detected the published analysis errors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Monte%20Carlo%20simulation" title="Monte Carlo simulation">Monte Carlo simulation</a>, <a href="https://publications.waset.org/abstracts/search?q=analytical%20results" title=" analytical results"> analytical results</a>, <a href="https://publications.waset.org/abstracts/search?q=leading%20digit%20rule" title=" leading digit rule"> leading digit rule</a>, <a href="https://publications.waset.org/abstracts/search?q=standard%20error" title=" standard error"> standard error</a> </p> <a href="https://publications.waset.org/abstracts/66317/simulation-as-a-problem-solving-spotter-for-system-reliability" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/66317.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">362</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">345</span> A Calibration Method of Portable Coordinate Measuring Arm Using Bar Gauge with Cone Holes</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rim%20Chang%20Hyon">Rim Chang Hyon</a>, <a href="https://publications.waset.org/abstracts/search?q=Song%20Hak%20Jin"> Song Hak Jin</a>, <a href="https://publications.waset.org/abstracts/search?q=Song%20Kwang%20Hyok"> Song Kwang Hyok</a>, <a href="https://publications.waset.org/abstracts/search?q=Jong%20Ki%20Hun"> Jong Ki Hun</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The calibration of the articulated arm coordinate measuring machine (AACMM) is key to improving calibration accuracy and saving calibration time. To reduce the time consumed for calibration, we should choose the proper calibration gauges and develop a reasonable calibration method. In addition, we should get the exact optimal solution by accurately removing the rough errors within the experimental data. In this paper, we present a calibration method of the portable coordinate measuring arm (PCMA) using the 1.2m long bar guage with cone-holes. First, we determine the locations of the bar gauge and establish an optimal objective function for identifying the structural parameter errors. Next, we make a mathematical model of the calibration algorithm and present a new mathematical method to remove the rough errors within calibration data. Finally, we find the optimal solution to identify the kinematic parameter errors by using Levenberg-Marquardt algorithm. The experimental results show that our calibration method is very effective in saving the calibration time and improving the calibration accuracy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=AACMM" title="AACMM">AACMM</a>, <a href="https://publications.waset.org/abstracts/search?q=kinematic%20model" title=" kinematic model"> kinematic model</a>, <a href="https://publications.waset.org/abstracts/search?q=parameter%20identify" title=" parameter identify"> parameter identify</a>, <a href="https://publications.waset.org/abstracts/search?q=measurement%20accuracy" title=" measurement accuracy"> measurement accuracy</a>, <a href="https://publications.waset.org/abstracts/search?q=calibration" title=" calibration"> calibration</a> </p> <a href="https://publications.waset.org/abstracts/179064/a-calibration-method-of-portable-coordinate-measuring-arm-using-bar-gauge-with-cone-holes" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/179064.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">83</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">344</span> Finding a Paraguayan Voice: The Indigenous Language Guarani in Performances of Paraguayan Female Singers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Romy%20Martinez">Romy Martinez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper focuses on the use of the indigenous language Guarani in Paraguayan popular song and on some key interpreters born between the 1930s and 1980s. It analyses two representative musical genres of Paraguay, the Polka Paraguaya and Guarania. The lyrics of these genres follow one of four poetic-linguistic forms: to be entirely in Guarani, entirely in Spanish, bilingual (alternating verses in Guarani and Spanish), or in Jopará; the last being a form where words of both languages may be mixed in a single verse. Through these forms, the lyrics alternate and combine the indigenous voice with the one introduced with colonisation, in turn reflecting how Guarani seems to constantly transit, to and from, between a position of disdain and of value within Paraguayan society. Through analysing recordings of Polkas, Paraguayas, and Guaranias, it identifies three styles of singing adopted by female singers who include these genres in their repertoires, namely Paraguayan classical folk, Paraguayan folk, and Paraguayan pop-folk. This analysis is informed by a pilot study which consisted of online interviews with several Paraguayan artists, revealing significant aspects of their backgrounds and musical influences. In addition, it draws on autoethnographic approaches, building on the experience of the music researcher and singer. From a decolonising perspective, the paper brings together the distinctive voices and sounds expressed in popular songs from a marginalised country, language, and gender. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20singers" title="female singers">female singers</a>, <a href="https://publications.waset.org/abstracts/search?q=Guarani" title=" Guarani"> Guarani</a>, <a href="https://publications.waset.org/abstracts/search?q=Paraguayan%20song" title=" Paraguayan song"> Paraguayan song</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/135162/finding-a-paraguayan-voice-the-indigenous-language-guarani-in-performances-of-paraguayan-female-singers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135162.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">201</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">343</span> Bird-Adapted Filter for Avian Species and Individual Identification Systems Improvement</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ladislav%20Ptacek">Ladislav Ptacek</a>, <a href="https://publications.waset.org/abstracts/search?q=Jan%20Vanek"> Jan Vanek</a>, <a href="https://publications.waset.org/abstracts/search?q=Jan%20Eisner"> Jan Eisner</a>, <a href="https://publications.waset.org/abstracts/search?q=Alexandra%20Pruchova"> Alexandra Pruchova</a>, <a href="https://publications.waset.org/abstracts/search?q=Pavel%20Linhart"> Pavel Linhart</a>, <a href="https://publications.waset.org/abstracts/search?q=Ludek%20Muller"> Ludek Muller</a>, <a href="https://publications.waset.org/abstracts/search?q=Dana%20Jirotkova"> Dana Jirotkova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> One of the essential steps of avian song processing is signal filtering. Currently, the standard methods of filtering are the Mel Bank Filter or linear filter distribution. In this article, a new type of bank filter called the Bird-Adapted Filter is introduced; whereby the signal filtering is modifiable, based upon a new mathematical description of audiograms for particular bird species or order, which was named the Avian Audiogram Unified Equation. According to the method, filters may be deliberately distributed by frequency. The filters are more concentrated in bands of higher sensitivity where there is expected to be more information transmitted and vice versa. Further, it is demonstrated a comparison of various filters for automatic individual recognition of chiffchaff (Phylloscopus collybita). The average Equal Error Rate (EER) value for Linear bank filter was 16.23%, for Mel Bank Filter 18.71%, the Bird-Adapted Filter gave 14.29%, and Bird-Adapted Filter with 1/3 modification was 12.95%. This approach would be useful for practical use in automatic systems for avian species and individual identification. Since the Bird-Adapted Filter filtration is based on the measured audiograms of particular species or orders, selecting the distribution according to the avian vocalization provides the most precise filter distribution to date. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=avian%20audiogram" title="avian audiogram">avian audiogram</a>, <a href="https://publications.waset.org/abstracts/search?q=bird%20individual%20identification" title=" bird individual identification"> bird individual identification</a>, <a href="https://publications.waset.org/abstracts/search?q=bird%20song%20processing" title=" bird song processing"> bird song processing</a>, <a href="https://publications.waset.org/abstracts/search?q=bird%20species%20recognition" title=" bird species recognition"> bird species recognition</a>, <a href="https://publications.waset.org/abstracts/search?q=filter%20bank" title=" filter bank"> filter bank</a> </p> <a href="https://publications.waset.org/abstracts/71830/bird-adapted-filter-for-avian-species-and-individual-identification-systems-improvement" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71830.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">387</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">342</span> Postmodernism and Metanarrative: Deconstruction of Narrative in a Song of Ice and Fire Fantasy TV Series</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Narjes%20Azimi">Narjes Azimi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It has been a while that narrative and storytelling turned to be the inevitable part of media. The narrative has so many aspects and among those entire aspects, the fantasy genre is consciously challenging one as fantasy readers are used to reading narratives like good versus evil plot. This paper will analyze the ASOIF TV series as a Meta narrative cultural production that deconstructs the elements of a traditional narrative. This study will shade on a grand narrative perspective from poststructuralism point of view. The theoretical framework is structuralism and post structuralism. Lyotard and Barthes are two main poststructuralists and focus of the study. Lyotard grand narrative elements will analyze in this research study. Fantasy genre generated a number of outstanding authors that explore innovative perspectives. Among all these leading authors George R.R Martin is one of the best. George R. R. Martin’s Fantasy a Song of Ice and Fire picturized the brutal world that seven kingdoms struggling for the power. Since 2011 this production has been followed and watched by millions of audiences all around the world. The methodology is the textual analysis of selected scenes. Martin’s distinctive fantasy style which makes it different from other fantasies, yet this shift does not negate how the previous fantasy writers represent the mentioned concepts of war, and etc., but Martin’ fantasy and left the mature audiences full of uncertainty. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=narrative%20theory" title="narrative theory">narrative theory</a>, <a href="https://publications.waset.org/abstracts/search?q=metanarrative" title=" metanarrative"> metanarrative</a>, <a href="https://publications.waset.org/abstracts/search?q=deconstruction" title=" deconstruction"> deconstruction</a>, <a href="https://publications.waset.org/abstracts/search?q=post-structuralism" title=" post-structuralism"> post-structuralism</a>, <a href="https://publications.waset.org/abstracts/search?q=Lyotard" title=" Lyotard"> Lyotard</a>, <a href="https://publications.waset.org/abstracts/search?q=Barthes" title=" Barthes"> Barthes</a> </p> <a href="https://publications.waset.org/abstracts/87831/postmodernism-and-metanarrative-deconstruction-of-narrative-in-a-song-of-ice-and-fire-fantasy-tv-series" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87831.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">295</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">341</span> The Beat of 'Desolation Row', 50 Years on</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=May%20Ziade">May Ziade</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Postgraduate studies in English language and literature at the University of Sydney provided opportunity for research into one of the most significant singer/songwriters of our time, Bob Dylan, and his masterpiece from the mid-1960s, ‘Desolation Row’. With a title alluding to Jack Kerouac’s Desolation Angels as well as John Steinbeck’s Cannery Row, ‘Desolation Row’ is Bob Dylan’s magnum opus. Recorded on August 4 1965, it takes pride of place as the last track on the revolutionary 1965 album of rock poetics, Highway 61 Revisited. From its inception, its epic proportions (ten long verses) and rich and baffling imagery got our attention - it amused, fascinated and beguiled. The song’s surreal and dreamlike landscape and its cast of characters, drawn from history, fiction, mythology, theology, and popular culture, lured us in and begged interpretation. What were they doing there? Where is Desolation Row? Do they want to escape from or go to ‘Desolation Row’? What was Dylan writing about and what were his influences? Through literary analysis and historical research, this paper will examine the song’s lyrics, the mid-60s context and Dylan’s vast influences to make sense, offer explanations and make connections. In particular, research findings place the Beat poets and oeuvre as a significant literary influence but it is a rich, multilayered text that straddles traditions and emerges as a paradox – a paradox that has endured and endeared itself to many. As it turns 50 this year, what better way to acknowledge this momentous occasion than at an international English language conference. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=analysis" title="analysis">analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=Bob%20Dylan" title=" Bob Dylan"> Bob Dylan</a>, <a href="https://publications.waset.org/abstracts/search?q=beat%20context" title=" beat context"> beat context</a>, <a href="https://publications.waset.org/abstracts/search?q=desolation%20row" title=" desolation row"> desolation row</a> </p> <a href="https://publications.waset.org/abstracts/25299/the-beat-of-desolation-row-50-years-on" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/25299.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">501</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">340</span> Spin-Flip and Magnetoelectric Coupling in Acentric and Non-Polar Pb₂MnO₄</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=K.%20D.%20Chandrasekhar">K. D. Chandrasekhar</a>, <a href="https://publications.waset.org/abstracts/search?q=H.%20C.%20Wu"> H. C. Wu</a>, <a href="https://publications.waset.org/abstracts/search?q=D.%20J.%20Hsieh"> D. J. Hsieh</a>, <a href="https://publications.waset.org/abstracts/search?q=B.%20J.%20Song"> B. J. Song</a>, <a href="https://publications.waset.org/abstracts/search?q=J.%20-Y.%20Lin"> J. -Y. Lin</a>, <a href="https://publications.waset.org/abstracts/search?q=J.%20L.%20Her"> J. L. Her</a>, <a href="https://publications.waset.org/abstracts/search?q=L.%20Z.%20Deng"> L. Z. Deng</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Gooch"> M. Gooch</a>, <a href="https://publications.waset.org/abstracts/search?q=C.%20W.%20Chu"> C. W. Chu</a>, <a href="https://publications.waset.org/abstracts/search?q=H.%20D.%20Yang"> H. D. Yang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Stress-mediated coupling of electrical and magnetic dipoles in a single phase multiferroic is rare. Pb₂MnO₄ belong to multi-piezo crystal class with the space group P⁻42₁ <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multiferroic" title="multiferroic">multiferroic</a>, <a href="https://publications.waset.org/abstracts/search?q=multipiezo" title=" multipiezo"> multipiezo</a>, <a href="https://publications.waset.org/abstracts/search?q=Pb%E2%82%82MnO%E2%82%84" title=" Pb₂MnO₄"> Pb₂MnO₄</a>, <a href="https://publications.waset.org/abstracts/search?q=spin-flip" title=" spin-flip"> spin-flip</a> </p> <a href="https://publications.waset.org/abstracts/99868/spin-flip-and-magnetoelectric-coupling-in-acentric-and-non-polar-pb2mno4" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/99868.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">236</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">339</span> Hindi Cinema in a Post-Colonial India: A Study on Guru Dutt's Self-Expression in 'Pyasa'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mrunmayee%20Das">Mrunmayee Das</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims to explore the film 'Pyasa' directed by actor-director Guru Dutt, filmed during the 1950’s golden age of Hindi cinema. 'Pyasa' was filmed after a decade of India being a new nation and narrates the world-view of a poet dressed in western ideals, tasting modernity, uprooted from his familial and social moorings causing friction of being between survival and self- expression. The research is based on literature review to study the attitudes, particularly the post-colonial, informing the film. In terms of the structure, the relational study of the film and the historical background of that time came first. Further explorations deal with the use of image making, dialogue, and poetry in the form of songs facilitating the central theme of the human plight of poverty, not of material but of thought. The literature review establishes Dutt’s style of expressing melodic melodrama through a dance between light and shadow majorly in the form of song sequences signifying the greys of the society. It was found in this research that melodrama is created by the changing contrasts and use of close-ups. The song sequences convey the tensions of being a contemporary liberal educated youth and having to deal with the societal-ills of this world, which highlights the theme of compulsion towards self-destruction. It is concluded that Dutt’s 'Pyasa' is a autobiographical commentary on the state of a nation doing away with a borrowed identity and refashioning its own. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Guru%20Dutt" title=" Guru Dutt"> Guru Dutt</a>, <a href="https://publications.waset.org/abstracts/search?q=post-colonial%20India" title=" post-colonial India"> post-colonial India</a>, <a href="https://publications.waset.org/abstracts/search?q=self-expression" title=" self-expression"> self-expression</a> </p> <a href="https://publications.waset.org/abstracts/111418/hindi-cinema-in-a-post-colonial-india-a-study-on-guru-dutts-self-expression-in-pyasa" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/111418.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">115</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">338</span> The Impact of Music on Social Identity Formation and Intergroup Relations in American-Born Korean Skaters in 2018 Winter Olympics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sehwan%20Kim">Sehwan Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Jepkorir%20Rose%20Chepyator%20Thomson"> Jepkorir Rose Chepyator Thomson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music provides opportunities to affirm social identities and facilitate the internalization of one’s identity. The purpose of this study was to examine the role of music in breaking down boundaries between the in-group and out-of-group sport participants. Social identity theory was used to guide an understanding of two American-born South Korean skaters—Yura Min and Alexander Gamelin—who used a Korean representative traditional folk song, Arirang, at the 2018 Winter Olympics. This was an interpretive case study that focused on 2018 Winter Olympic participants whose performance and use of music was understood through the lenses of Koreans. Semi-structured interviews were conducted with 15 Korean audiences who watched two American-born South Korean skaters’ performances. Data analysis involved the determination of themes in the data collected. The findings of this study are as follows: First Koreans viewed the skaters as the out-group based on ethnic appearances and stereotypes. Second, Koreans’ inter-group bias against the skaters was meditated after Koreans watched the skaters as they used Arirang song in performance. Implications for this study include the importance of music as an instrument of unity across diverse populations, including intergroup relations. Music can also offer ways to understand people’s cultures and bridge gaps between age and gender across categories of naturalization. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=impact%20of%20music" title="impact of music">impact of music</a>, <a href="https://publications.waset.org/abstracts/search?q=intergroup%20relations" title=" intergroup relations"> intergroup relations</a>, <a href="https://publications.waset.org/abstracts/search?q=naturalized%20athletes" title=" naturalized athletes"> naturalized athletes</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20identity%20theory" title=" social identity theory"> social identity theory</a> </p> <a href="https://publications.waset.org/abstracts/135132/the-impact-of-music-on-social-identity-formation-and-intergroup-relations-in-american-born-korean-skaters-in-2018-winter-olympics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135132.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">207</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">337</span> Improving Cheon-Kim-Kim-Song (CKKS) Performance with Vector Computation and GPU Acceleration</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Smaran%20Manchala">Smaran Manchala</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Homomorphic Encryption (HE) enables computations on encrypted data without requiring decryption, mitigating data vulnerability during processing. Usable Fully Homomorphic Encryption (FHE) could revolutionize secure data operations across cloud computing, AI training, and healthcare, providing both privacy and functionality, however, the computational inefficiency of schemes like Cheon-Kim-Kim-Song (CKKS) hinders their widespread practical use. This study focuses on optimizing CKKS for faster matrix operations through the implementation of vector computation parallelization and GPU acceleration. The variable effects of vector parallelization on GPUs were explored, recognizing that while parallelization typically accelerates operations, it could introduce overhead that results in slower runtimes, especially in smaller, less computationally demanding operations. To assess performance, two neural network models, MLPN and CNN—were tested on the MNIST dataset using both ARM and x86-64 architectures, with CNN chosen for its higher computational demands. Each test was repeated 1,000 times, and outliers were removed via Z-score analysis to measure the effect of vector parallelization on CKKS performance. Model accuracy was also evaluated under CKKS encryption to ensure optimizations did not compromise results. According to the results of the trail runs, applying vector parallelization had a 2.63X efficiency increase overall with a 1.83X performance increase for x86-64 over ARM architecture. Overall, these results suggest that the application of vector parallelization in tandem with GPU acceleration significantly improves the efficiency of CKKS even while accounting for vector parallelization overhead, providing impact in future zero trust operations. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=CKKS%20scheme" title="CKKS scheme">CKKS scheme</a>, <a href="https://publications.waset.org/abstracts/search?q=runtime%20efficiency" title=" runtime efficiency"> runtime efficiency</a>, <a href="https://publications.waset.org/abstracts/search?q=fully%20homomorphic%20encryption%20%28FHE%29" title=" fully homomorphic encryption (FHE)"> fully homomorphic encryption (FHE)</a>, <a href="https://publications.waset.org/abstracts/search?q=GPU%20acceleration" title=" GPU acceleration"> GPU acceleration</a>, <a href="https://publications.waset.org/abstracts/search?q=vector%20parallelization" title=" vector parallelization"> vector parallelization</a> </p> <a href="https://publications.waset.org/abstracts/192456/improving-cheon-kim-kim-song-ckks-performance-with-vector-computation-and-gpu-acceleration" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192456.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">23</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Liuyang%20Song&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Liuyang%20Song&page=3">3</a></li> <li class="page-item"><a class="page-link" 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