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esthetics</title> <meta name="description" content="Search results for: music esthetics"> <meta name="keywords" content="music esthetics"> <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 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="music esthetics"> <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> 578</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: music esthetics</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">428</span> The Influence of Japanese Poetry in Spanish Piano Music: Benet Casablancas and Mercedes Zavala’s Haikus</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Isabel%20%20P%C3%A9rez%20Dobarro">Isabel Pérez Dobarro </a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the mid-twentieth century, Spanish composers started looking beyond the national folkloric tradition (adopted by Albéniz, Granados, and Falla) and Rodrigo’s neoclassicism, and searched for other sources of inspiration. Japanese Haikus fascinated Spanish musicians, who found in their brevity and imagination a new avenue to develop their creativity. The goal of this research is to study how two renowned Spanish authors, Benet Casablancas and Mercedes Zavala, incorporated Haikus into their piano works. Based on Bruhn’s methodology on text and instrumental music relations, and developing a score and text analysis complemented by interviews with both composers, this study has revealed three possible interactions between the Haikus and these composers’ piano writing: inspiration, transmedialization, and mimesis. Findings also include specific technical gestures to support each of these approaches. Commonalities between their pieces and those by other non-Spanish composers such as Jonathan Harvey, John Cage, and Michael Berkeley have also been explored. According to the author's knowledge, this is the first study on the Japanese influence in Spanish piano music. Thus, it opens a new path for understanding musical exchanges between both countries as well as contemporary piano tools that support the interaction between text and music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Haiku" title="Haiku">Haiku</a>, <a href="https://publications.waset.org/abstracts/search?q=Spanish%20piano%20music" title=" Spanish piano music"> Spanish piano music</a>, <a href="https://publications.waset.org/abstracts/search?q=Benet%20Casablancas" title=" Benet Casablancas"> Benet Casablancas</a>, <a href="https://publications.waset.org/abstracts/search?q=Mercedes%20Zavala" title=" Mercedes Zavala"> Mercedes Zavala</a> </p> <a href="https://publications.waset.org/abstracts/128209/the-influence-of-japanese-poetry-in-spanish-piano-music-benet-casablancas-and-mercedes-zavalas-haikus" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/128209.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">152</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">427</span> Effects of Turkish Classical Music on Cognitive Function, Depression and Quality of Life in Elderly</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rukiye%20Pinar%20Boluktas">Rukiye Pinar Boluktas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> According to 2015 statistics, in Turkey, 46% of older people live alone in their homes, 55% have poor health perceptions, 18% face poverty, and 43% are unhappy. Prevalence of depression is between 14% and 20%. In 2013, rate of suicide was 6.5. However, the most of older people prefer to live in their community although they are lonely, they face poverty, and face limitations as a result of chronic diseases and disabilities. Community based care for older people is also encouraged by Ministry of Health as it is more cost-effective. Music therapy is a simple, effective, safe, and nonpharmacologic intervention that may be used to decrease depression and to improve cognition, and health related quality of life (HRQOL). In Turkish culture, music is typically described as ‘food for soul’. This study aimed to investigate the effect of Turkish classical music songs in 32 community dwelling older people. Participants were received interventions two or three times per week, 50-60 min per session, for 8 weeks at a day health center. Each intervention session started listening music for 15-20 min to get remember songs, then followed singing songs as a group. Participants were assessed at baseline (week 0), and two follow-up at month 1 and month 2. Compared to baseline, at two follow-up, we observed that cognition improved, depression decreased, and SF-36 scores, including 8 domains and two summary scores increased. We conclude that an intervention comprising listening and singing Turkish classical music improve cognition, depression and HRQOL in older people. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cognitive%20function" title="cognitive function">cognitive function</a>, <a href="https://publications.waset.org/abstracts/search?q=depression" title=" depression"> depression</a>, <a href="https://publications.waset.org/abstracts/search?q=elderly" title=" elderly"> elderly</a>, <a href="https://publications.waset.org/abstracts/search?q=quality%20of%20life" title=" quality of life"> quality of life</a>, <a href="https://publications.waset.org/abstracts/search?q=Turkish%20classical%20music" title=" Turkish classical music"> Turkish classical music</a> </p> <a href="https://publications.waset.org/abstracts/90493/effects-of-turkish-classical-music-on-cognitive-function-depression-and-quality-of-life-in-elderly" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/90493.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">165</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">426</span> Music Responsiveness and Cultural Practice: Tarok Ethnic Group of Plateau State in Focus</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Johnson-Egemba%20Helen%20Amaka">Johnson-Egemba Helen Amaka</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music is emotional in the sense that it controls people’s feelings. The way and manner people react to music at a point in time depend on the type of music that is playing. Music can make someone to march or dance, to cry or laugh, to be happy or sad, to fight or make peace and so on. It therefore makes someone o exhibit some kind of behaviours, either positive or negative. Even dangerous animals have been found to be controlled by music. In the psychiatric homes, mad people are always found to be dancing to music. During funeral ceremony, music singing and dancing are sources of comfort to the bereaved. As a background to the study, Tarok ethnic group in Plateau State was used. The Tarok comprise of Langtang North and South Local Government Areas. The ethnic group of Tarok integrates music in almost all the activities of their lives. A total of six (6) types of folk songs were identified. These songs range from marriages, funeral, royalty, togetherness, war, rituals, festivals, and farming. This paper points out the significance of basic responsiveness of the Tarok people towards the folk songs, their reaction generally whether positive or negative. The methods of data collection employed in this work include oral interview approach, recording of various types of Tarok folk songs, consulting of journals, magazines and textbooks. The researcher used oral interview as her primary source of information which is found to be the most effective procedure in carrying out this task. The songs were textually analyzed with a view to unveiling their meanings, thought processes, and conveying their direction and functions within the context of their rendition. The major findings of the study are that music in Tarok culture covers the physical, mental, emotional and social experiences. The physical aspect is the motor skills, which include dancing and demonstration of the songs. The mental experiences are intellectual levels which include construction and manufacturing of musical instruments, composing songs, teaching and learning etc. Furthermore, this research provided in addition to musical activities, the literature, history and culture of the Tarok communities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural" title="cultural">cultural</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=practice" title=" practice"> practice</a>, <a href="https://publications.waset.org/abstracts/search?q=responsiveness" title=" responsiveness "> responsiveness </a> </p> <a href="https://publications.waset.org/abstracts/26930/music-responsiveness-and-cultural-practice-tarok-ethnic-group-of-plateau-state-in-focus" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26930.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">296</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">425</span> Memorizing Music and Learning Strategies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elisabeth%20Eder">Elisabeth Eder</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Memorizing music plays an important role for instrumentalists and has been researched very little so far. Almost every musician is confronted with memorizing music in the course of their musical career. For numerous competitions, examinations (e.g., at universities, music schools), solo performances, and the like, memorization is a requirement. Learners are often required to learn a piece by heart but are rarely given guidance on how to proceed. This was also confirmed by Eder's preliminary study to examine the topicality and relevance of the topic, in which 111 instrumentalists took part. The preliminary study revealed a great desire for more knowledge or information about learning strategies as well as a greater sense of security when performing by heart on stage through the use of learning strategies by those musicians who use learning strategies. Eder’s research focuses on learning strategies for memorizing music. As part of a large-scale empirical study – an online questionnaire translated into 10 languages was used to conduct the study – 1091 musicians from 64 different countries described how they memorize. The participants in the study also evaluated their learning strategies and justified their choice in terms of their degree of effectiveness. Based on the study and pedagogical literature, 100 learning strategies were identified and categorized; the strategies were examined with regard to their effectiveness, and instrument-specific, age-specific, country-specific, gender-specific, and education-related differences and similarities concerning the choice of learning strategies were investigated. Her research also deals with forms and models of memory and how music-related information can be stored and retrieved and also forgotten again. A further part is devoted to the possibilities that teachers and learners have to support the process of memorization independently of learning strategies. The findings resulting from Elisabeth Eder's research should enable musicians and instrumental students to memorize faster and more confidently. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=memorizing%20music" title="memorizing music">memorizing music</a>, <a href="https://publications.waset.org/abstracts/search?q=learning%20strategies" title=" learning strategies"> learning strategies</a>, <a href="https://publications.waset.org/abstracts/search?q=empirical%20study" title=" empirical study"> empirical study</a>, <a href="https://publications.waset.org/abstracts/search?q=effectiveness%20of%20strategies" title=" effectiveness of strategies"> effectiveness of strategies</a> </p> <a href="https://publications.waset.org/abstracts/183397/memorizing-music-and-learning-strategies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/183397.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">42</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">424</span> Enhancing Development through Music: Insights from the Tehran Conservatory’s Program for Children with Autism Spectrum Disorder</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ailin%20Agaahi">Ailin Agaahi</a>, <a href="https://publications.waset.org/abstracts/search?q=Nafise%20Daneshvar%20Hoseini"> Nafise Daneshvar Hoseini</a>, <a href="https://publications.waset.org/abstracts/search?q=Shahnaz%20Tamizi"> Shahnaz Tamizi</a>, <a href="https://publications.waset.org/abstracts/search?q=Mehrdad%20Sabet"> Mehrdad Sabet</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigates the impact of the Tehran Conservatory's music program on children with autism spectrum disorder (ASD) and their families. Recognizing music education as a beneficial therapeutic intervention, the research highlights how engagement in musical activities can foster cognitive, emotional, and social growth. Through qualitative interviews with parents of children enrolled in the program, the study explores their motivations for participation, observations of their children's progress, and assessments of the program's effectiveness. Preliminary findings indicate that the program significantly enhances social interaction, emotional regulation, and communication skills in children with ASD. Parents appreciate the program's adaptability to individual needs and the supportive training of instructors. Despite these positive outcomes, the study identifies challenges, including a lack of awareness and limited access to similar programs. The findings contribute valuable perspectives to the existing literature and suggest pathways for developing more inclusive music education initiatives, both in Iran and globally, to better support children with ASD and their families. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=autism%20spectrum%20disorder" title="autism spectrum disorder">autism spectrum disorder</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a>, <a href="https://publications.waset.org/abstracts/search?q=therapeutic%20intervention" title=" therapeutic intervention"> therapeutic intervention</a>, <a href="https://publications.waset.org/abstracts/search?q=parental%20perspectives" title=" parental perspectives"> parental perspectives</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20interaction" title=" social interaction"> social interaction</a> </p> <a href="https://publications.waset.org/abstracts/192611/enhancing-development-through-music-insights-from-the-tehran-conservatorys-program-for-children-with-autism-spectrum-disorder" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192611.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">20</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">423</span> The Folk Influences in the Melody of Romanian and Serbian Church Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eudjen%20Cinc">Eudjen Cinc</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Common Byzantine origins of church music of Serbs and Romanians are certainly not the only reason for great similarities between the ways of singing of the two nations, especially in the region of Banat. If it was so, the differences between the interpretation of church music in this part of Orthodox religion and the one specific for other parts where Serbs or Romanians live could not be explained. What is it that connects church signing of two nations in this peaceful part of Europe to such an extent that it could be considered a comprehensive corpus, different from other 'Serbian' or 'Romanian' regions? This is the main issue dealt with in the text according to examples and comparative processing of material. The main aim of the paper is representation of the new and interesting, while its value lies in its potential to encourage the reader or a future researcher to investigate and search further. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=folk%20influences" title="folk influences">folk influences</a>, <a href="https://publications.waset.org/abstracts/search?q=melody" title=" melody"> melody</a>, <a href="https://publications.waset.org/abstracts/search?q=melodic%20models" title=" melodic models"> melodic models</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnomusicology" title=" ethnomusicology"> ethnomusicology</a> </p> <a href="https://publications.waset.org/abstracts/4808/the-folk-influences-in-the-melody-of-romanian-and-serbian-church-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/4808.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">253</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">422</span> Mental Wellbeing Using Music Intervention: A Case Study of Therapeutic Role of Music, From Both Psychological and Neurocognitive Perspectives</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Medha%20Basu">Medha Basu</a>, <a href="https://publications.waset.org/abstracts/search?q=Kumardeb%20Banerjee"> Kumardeb Banerjee</a>, <a href="https://publications.waset.org/abstracts/search?q=Dipak%20Ghosh"> Dipak Ghosh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> After the massive blow of the COVID-19 pandemic, several health hazards have been reported all over the world. Serious cases of Major Depressive Disorder (MDD) are seen to be common in about 15% of the global population, making depression one of the leading mental health diseases, as reported by the World Health Organization. Various psychological and pharmacological treatment techniques are regularly being reported. Music, a globally accepted mode of entertainment, is often used as a therapeutic measure to treat various health conditions. We have tried to understand how Indian Classical Music can affect the overall well-being of the human brain. A case study has been reported here, where a Flute-rendition has been chosen from a detailed audience response survey, and the effects of that clip on human brain conditions have been studied from both psychological and neural perspectives. Taking help from internationally-accepted depression-rating scales, two questionnaires have been designed to understand both the prolonged and immediate effect of music on various emotional states of human lives. Thereafter, from EEG experiments on 5 participants using the same clip, the parameter ‘ALAY’, alpha frontal asymmetry (alpha power difference of right and left frontal hemispheres), has been calculated. Works of Richard Davidson show that an increase in the ‘ALAY’ value indicates a decrease in depressive symptoms. Using the non-linear technique of MFDFA on EEG analysis, we have also calculated frontal asymmetry using the complexity values of alpha-waves in both hemispheres. The results show a positive correlation between both the psychological survey and the EEG findings, revealing the prominent role of music on the human brain, leading to a decrease in mental unrest and an increase in overall well-being. In this study, we plan to propose the scientific foundation of music therapy, especially from a neurocognition perspective, with appropriate neural bio-markers to understand the positive and remedial effects of music on the human brain. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20therapy" title="music therapy">music therapy</a>, <a href="https://publications.waset.org/abstracts/search?q=EEG" title=" EEG"> EEG</a>, <a href="https://publications.waset.org/abstracts/search?q=psychological%20survey" title=" psychological survey"> psychological survey</a>, <a href="https://publications.waset.org/abstracts/search?q=frontal%20alpha%20asymmetry" title=" frontal alpha asymmetry"> frontal alpha asymmetry</a>, <a href="https://publications.waset.org/abstracts/search?q=wellbeing" title=" wellbeing"> wellbeing</a> </p> <a href="https://publications.waset.org/abstracts/186690/mental-wellbeing-using-music-intervention-a-case-study-of-therapeutic-role-of-music-from-both-psychological-and-neurocognitive-perspectives" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186690.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">41</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">421</span> Tonal Pitch Structure as a Tool of Social Consolidation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Piotr%20Podlipniak">Piotr Podlipniak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Social consolidation has often been indicated as an adaptive function of music which led to the evolution of music faculty. According to many scholars this function is possible thanks to musical rhythm that enables sensorimotor synchronization to a musical beat. The ability to synchronize to music allows performing music collectively which enhances social cohesion. However, the collective performance of music consists also in spectral synchronization that depends on musical pitch structure. Similarly to rhythmic synchronization, spectral synchronization is a result of ‘brain states alignment’ between people who collectively listen to or perform music. In order to successfully synchronize pitches performers have to adequately expect the pitch structure. The most common form of music which predominates among all human societies is tonal music. In fact tonality understood in the broadest sense as such an organization of musical pitches in which some pitch is more important than others is the only kind of musical pitch structure that has been observed in all currently known musical cultures. The perception of such a musical pitch structure elicits specific emotional reactions which are often described as tensions and relaxations. These facts provoke some important questions. What is the evolutionary reason that people use pitch structure as a form of vocal communication? Why different pitch structures elicit different emotional states independent of extra-musical context? It is proposed in the current presentation that in the course of evolution pitch structure became a human specific tool of communication the function of which is to induce emotional states such as uncertainty and cohesion. By the means of eliciting these emotions during collective music performance people are able to unconsciously give cues concerning social acceptance. This is probably one of the reasons why in all cultures people collectively perform tonal music. It is also suggested that tonal pitch structure had been invented socially before it became an evolutionary innovation of Homo sapiens. It means that a predisposition to tonally organize pitches evolved by the means of ‘Baldwin effect’ – a process in which natural selection transforms the learned response of an organism into the instinctive response. The hypothetical evolutionary scenario of the emergence of tonal pitch structure will be proposed. In this scenario social forces such as a need for closer cooperation play the crucial role. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=emotion" title="emotion">emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=evolution" title=" evolution"> evolution</a>, <a href="https://publications.waset.org/abstracts/search?q=tonality" title=" tonality"> tonality</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20consolidation" title=" social consolidation"> social consolidation</a> </p> <a href="https://publications.waset.org/abstracts/28454/tonal-pitch-structure-as-a-tool-of-social-consolidation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/28454.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">323</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">420</span> Music Listening in Dementia: Current Developments and the Potential for Automated Systems in the Home: Scoping Review and Discussion</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alexander%20Street">Alexander Street</a>, <a href="https://publications.waset.org/abstracts/search?q=Nina%20Wollersberger"> Nina Wollersberger</a>, <a href="https://publications.waset.org/abstracts/search?q=Paul%20Fernie"> Paul Fernie</a>, <a href="https://publications.waset.org/abstracts/search?q=Leonardo%20Muller"> Leonardo Muller</a>, <a href="https://publications.waset.org/abstracts/search?q=Ming%20Hung%20HSU"> Ming Hung HSU</a>, <a href="https://publications.waset.org/abstracts/search?q=Helen%20Odell-Miller"> Helen Odell-Miller</a>, <a href="https://publications.waset.org/abstracts/search?q=Jorg%20Fachner"> Jorg Fachner</a>, <a href="https://publications.waset.org/abstracts/search?q=Patrizia%20Di%20Campli%20San%20Vito"> Patrizia Di Campli San Vito</a>, <a href="https://publications.waset.org/abstracts/search?q=Stephen%20Brewster"> Stephen Brewster</a>, <a href="https://publications.waset.org/abstracts/search?q=Hari%20Shaji"> Hari Shaji</a>, <a href="https://publications.waset.org/abstracts/search?q=Satvik%20Venkatesh"> Satvik Venkatesh</a>, <a href="https://publications.waset.org/abstracts/search?q=Paolo%20Itaborai"> Paolo Itaborai</a>, <a href="https://publications.waset.org/abstracts/search?q=Nicolas%20Farina"> Nicolas Farina</a>, <a href="https://publications.waset.org/abstracts/search?q=Alexis%20Kirke"> Alexis Kirke</a>, <a href="https://publications.waset.org/abstracts/search?q=Sube%20Banerjee"> Sube Banerjee</a>, <a href="https://publications.waset.org/abstracts/search?q=Eduardo%20Reck%20Miranda"> Eduardo Reck Miranda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Escalating neuropsychiatric symptoms (NPS) in people with dementia may lead to earlier care home admission. Music listening has been reported to stimulate cognitive function, potentially reducing agitation in this population. We present a scoping review, reporting on current developments and discussing the potential for music listening with related technology in managing agitation in dementia care. Of two searches for music listening studies, one focused on older people or people living with dementia where music listening interventions, including technology, were delivered in participants’ homes or in institutions to address neuropsychiatric symptoms, quality of life and independence. The second included any population focusing on the use of music technology for health and wellbeing. In search one 70/251 full texts were included. The majority reported either statistical significance (6, 8.5%), significance (17, 24.2%) or improvements (26, 37.1%). Agitation was specifically reported in 36 (51.4%). The second search included 51/99 full texts, reporting improvement (28, 54.9%), significance (11, 21.5%), statistical significance (1, 1.9%) and no difference compared to the control (6, 11.7%). The majority in the first focused on mood and agitation, and the second on mood and psychophysiological responses. Five studies used AI or machine learning systems to select music, all involving healthy controls and reporting benefits. Most studies in both reviews were not conducted in a home environment (review 1 = 12; 17.1%; review 2 = 11; 21.5%). Preferred music listening may help manage NPS in the care home settings. Based on these and other data extracted in the review, a reasonable progression would be to co-design and test music listening systems and protocols for NPS in all settings, including people’s homes. Machine learning and automated technology for music selection and arousal adjustment, driven by live biodata, have not been explored in dementia care. Such approaches may help deliver the right music at the appropriate time in the required dosage, reducing the use of medication and improving quality of life. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20listening" title="music listening">music listening</a>, <a href="https://publications.waset.org/abstracts/search?q=dementia" title=" dementia"> dementia</a>, <a href="https://publications.waset.org/abstracts/search?q=agitation" title=" agitation"> agitation</a>, <a href="https://publications.waset.org/abstracts/search?q=scoping%20review" title=" scoping review"> scoping review</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a> </p> <a href="https://publications.waset.org/abstracts/164158/music-listening-in-dementia-current-developments-and-the-potential-for-automated-systems-in-the-home-scoping-review-and-discussion" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/164158.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">112</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">419</span> Ottoman Marches Composed by European Musicians</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Selcen%20%C3%96zyurt%20Uluta%C5%9F">Selcen Özyurt Ulutaş</a> </p> <p class="card-text"><strong>Abstract:</strong></p> March as a musical form in Ottoman Music has started after Sultan II. Mahmud. Owing to the modernization process on Ottoman Empire, marches had accepted and embraced by the sultanate in a short period of time. The reasons behind sultans favor against marches that is actually a European Music form is closely related to attribute meanings to marches. After Sultan II. Mahmud, marches became a symbol of westernization and became a symbol of sultanate. After that period besides sultans also princes started to compose marches. The presentation includes the demonstration of the marches classification in achieves to be able to give information on the composers of those marches. Through that process, this study aims to show attributed meanings to those marches and what those marches represent. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ottoman%20marches" title="Ottoman marches">Ottoman marches</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=Europe" title=" Europe"> Europe</a>, <a href="https://publications.waset.org/abstracts/search?q=European%20musicians" title=" European musicians"> European musicians</a> </p> <a href="https://publications.waset.org/abstracts/26828/ottoman-marches-composed-by-european-musicians" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26828.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">317</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">418</span> The Quantum Theory of Music and Human Languages</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mballa%20Abanda%20Luc%20Aurelien%20Serge">Mballa Abanda Luc Aurelien Serge</a>, <a href="https://publications.waset.org/abstracts/search?q=Henda%20Gnakate%20Biba"> Henda Gnakate Biba</a>, <a href="https://publications.waset.org/abstracts/search?q=Kuate%20Guemo%20Romaric"> Kuate Guemo Romaric</a>, <a href="https://publications.waset.org/abstracts/search?q=Akono%20Rufine%20Nicole"> Akono Rufine Nicole</a>, <a href="https://publications.waset.org/abstracts/search?q=Zabotom%20Yaya%20Fadel%20Biba"> Zabotom Yaya Fadel Biba</a>, <a href="https://publications.waset.org/abstracts/search?q=Petfiang%20Sidonie"> Petfiang Sidonie</a>, <a href="https://publications.waset.org/abstracts/search?q=Bella%20Suzane%20Jenifer"> Bella Suzane Jenifer</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main hypotheses proposed around the definition of the syllable and of music, of the common origin of music and language, should lead the reader to reflect on the cross-cutting questions raised by the debate on the notion of universals in linguistics and musicology. These are objects of controversy, and there lies its interest: the debate raises questions that are at the heart of theories on language. It is an inventive, original, and innovative research thesis. A contribution to the theoretical, musicological, ethno musicological, and linguistic conceptualization of languages, giving rise to the practice of interlocution between the social and cognitive sciences, the activities of artistic creation, and the question of modeling in the human sciences: mathematics, computer science, translation automation, and artificial intelligence. When you apply this theory to any text of a folksong of a world-tone language, you do not only piece together the exact melody, rhythm, and harmonies of that song as if you knew it in advance but also the exact speaking of this language. The author believes that the issue of the disappearance of tonal languages and their preservation has been structurally resolved, as well as one of the greatest cultural equations related to the composition and creation of tonal, polytonal, and random music. The experimentation confirming the theorization, I designed a semi-digital, semi-analog application that translates the tonal languages of Africa (about 2,100 languages) into blues, jazz, world music, polyphonic music, tonal and anatonal music, and deterministic and random music). To test this application, I use music reading and writing software that allows me to collect the data extracted from my mother tongue, which is already modeled in the musical staves saved in the ethnographic (semiotic) dictionary for automatic translation ( volume 2 of the book). The translation is done (from writing to writing, from writing to speech, and from writing to music). Mode of operation: you type a text on your computer, a structured song (chorus-verse), and you command the machine a melody of blues, jazz, and world music or variety, etc. The software runs, giving you the option to choose harmonies, and then you select your melody. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=language" title="language">language</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=sciences" title=" sciences"> sciences</a>, <a href="https://publications.waset.org/abstracts/search?q=quantum%20entenglement" title=" quantum entenglement"> quantum entenglement</a> </p> <a href="https://publications.waset.org/abstracts/162307/the-quantum-theory-of-music-and-human-languages" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/162307.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">77</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">417</span> Obsession of Time and the New Musical Ontologies. The Concert for Saxophone, Daniel Kientzy and Orchestra by Myriam Marbe</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dutica%20Luminita">Dutica Luminita</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For the music composer Myriam Marbe the musical time and memory represent 2 (complementary) phenomena with conclusive impact on the settlement of new musical ontologies. Summarizing the most important achievements of the contemporary techniques of composition, her vision on the microform presented in The Concert for Daniel Kientzy, saxophone and orchestra transcends the linear and unidirectional time in favour of a flexible, multi-vectorial speech with spiral developments, where the sound substance is auto(re)generated by analogy with the fundamental processes of the memory. The conceptual model is of an archetypal essence, the music composer being concerned with identifying the mechanisms of the creation process, especially of those specific to the collective creation (of oral tradition). Hence the spontaneity of expression, improvisation tint, free rhythm, micro-interval intonation, coloristic-timbral universe dominated by multiphonics and unique sound effects. Hence the atmosphere of ritual, however purged by the primary connotations and reprojected into a wonderful spectacular space. The Concert is a work of artistic maturity and enforces respect, among others, by the timbral diversity of the three species of saxophone required by the music composer (baritone, sopranino and alt), in Part III Daniel Kientzy shows the performance of playing two saxophones concomitantly. The score of the music composer Myriam Marbe contains a deeply spiritualized music, full or archetypal symbols, a music whose drama suggests a real cinematographic movement. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=archetype" title="archetype">archetype</a>, <a href="https://publications.waset.org/abstracts/search?q=chronogenesis" title=" chronogenesis"> chronogenesis</a>, <a href="https://publications.waset.org/abstracts/search?q=concert" title=" concert"> concert</a>, <a href="https://publications.waset.org/abstracts/search?q=multiphonics" title=" multiphonics"> multiphonics</a> </p> <a href="https://publications.waset.org/abstracts/29047/obsession-of-time-and-the-new-musical-ontologies-the-concert-for-saxophone-daniel-kientzy-and-orchestra-by-myriam-marbe" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29047.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">543</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">416</span> OSEME: A Smart Learning Environment for Music Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Konstantinos%20Sofianos">Konstantinos Sofianos</a>, <a href="https://publications.waset.org/abstracts/search?q=Michael%20Stefanidakis"> Michael Stefanidakis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nowadays, advances in information and communication technologies offer a range of opportunities for new approaches, methods, and tools in the field of education and training. Teacher-centered learning has changed to student-centered learning. E-learning has now matured and enables the design and construction of intelligent learning systems. A smart learning system fully adapts to a student's needs and provides them with an education based on their preferences, learning styles, and learning backgrounds. It is a wise friend and available at any time, in any place, and with any digital device. In this paper, we propose an intelligent learning system, which includes an ontology with all elements of the learning process (learning objects, learning activities) and a massive open online course (MOOC) system. This intelligent learning system can be used in music education. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=intelligent%20learning%20systems" title="intelligent learning systems">intelligent learning systems</a>, <a href="https://publications.waset.org/abstracts/search?q=e-learning" title=" e-learning"> e-learning</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a>, <a href="https://publications.waset.org/abstracts/search?q=ontology" title=" ontology"> ontology</a>, <a href="https://publications.waset.org/abstracts/search?q=semantic%20web" title=" semantic web"> semantic web</a> </p> <a href="https://publications.waset.org/abstracts/168933/oseme-a-smart-learning-environment-for-music-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/168933.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">312</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">415</span> The Competing Roles of Educator, Music Teacher, and Musician in Professional Identity Development: A Longitudinal Autoethnography</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Thomas%20LaRocca">Thomas LaRocca</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study explores the development of a public-school music teacher’s professional identity within three domains: as an educator in the profession at large, as a music teacher in a school, and as a professional musician. An autoethnographic method is employed by calling upon undergraduate student teaching reflections, graduate writing assignments and presentations, cover letters for employment, professional correspondence, and reflective memos. These artifacts provide a reference for phenomenological insights into the values, hopes, and criticisms within each domain over time –all of which provide a window into the overall ontological perspective of one’s professional life at different moments in their career. While the topic of music teacher identity has been examined using autoethnographical methods before, by accessing materials over the course of ten years, the study is able to investigate the ‘how’ of identity development in a temporal context; from undergraduate student to established professional. Additionally, while the field offers a considerable amount of work surrounding the child and adolescent identity development, there are unmined opportunities to examine identity development in the adult years, especially surrounding adult professional life. Employing a postpositivist approach with social constructionism as a backdrop, this study examines adult identity formation and the contradictions, resonances, and priorities within each domain, between each domain, and perceived expectations of the professional community. What is revealed is a journey of self-improvement motivated by failure and success, marked by negotiation and sacrifice; as each domain competes for mental and temporal resources, identity is viewed as not just who one is, but also as what one leaves behind. These insights offer a window into the ontology of identity of a music educator and may provide considerations for differentiating professional development based on what stage educators are at in their careers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=identity" title="identity">identity</a>, <a href="https://publications.waset.org/abstracts/search?q=longitudinal%20autoethnography" title=" longitudinal autoethnography"> longitudinal autoethnography</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20teacher%20education" title=" music teacher education"> music teacher education</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20teacher%20ontology" title=" music teacher ontology"> music teacher ontology</a> </p> <a href="https://publications.waset.org/abstracts/131617/the-competing-roles-of-educator-music-teacher-and-musician-in-professional-identity-development-a-longitudinal-autoethnography" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131617.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">139</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">414</span> Characterization of the Music Admission Requirements and Evaluation of the Relationship among Motivation and Performance Achievement</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Antonio%20M.%20Oliveira">Antonio M. Oliveira</a>, <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Oliveira-Silva"> Patricia Oliveira-Silva</a>, <a href="https://publications.waset.org/abstracts/search?q=Jose%20Matias%20Alves"> Jose Matias Alves</a>, <a href="https://publications.waset.org/abstracts/search?q=Gary%20McPherson"> Gary McPherson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The music teaching is oriented towards offering formal music training. Due to its specificities, this vocational program starts at a very young age. Although provided by the State, the offer is limited to 6 schools throughout the country, which means that the vacancies for prospective students are very limited every year. It is therefore crucial that these vacancies be taken by especially motivated children grown within households that offer the ideal setting for success. Some of the instruments used to evaluate musical performance are highly sensitive to specific previous training, what represents a severe validity problem for testing children who have had restricted opportunities for formal training. Moreover, these practices may be unfair because, for instance, they may not reflect the candidates’ music aptitudes. Based on what constitutes a prerequisite for making an excellent music student, researchers in this field have long argued that motivation, task commitment, and parents’ support are as important as ability. Thus, the aim of this study is: (1) to prepare an inventory of admission requirements in Australia, Portugal and Ireland; (2) to examine whether the candidates to music conservatories and parents’ level of motivation, assessed at three evaluation points (i.e., admission, at the end of the first year, and at the end of the second year), correlates positively with the candidates’ progress in learning a musical instrument (i.e., whether motivation at the admission may predict student musicianship); (3) an adaptation of an existing instrument to assess the motivation (i.e., to adapt the items to the music setting, focusing on the motivation for playing a musical instrument). The inclusion criteria are: only children registered in the administrative services to be evaluated for entrance to the conservatory will be accepted for this study. The expected number of participants is fifty (5-6 years old) in all the three frequency schemes: integrated, articulated and supplementary. Revisiting musical admission procedures is of particular importance and relevance to musical education because this debate may bring guidance and assistance about the needed improvement to make the process of admission fairer and more transparent. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20learning" title="music learning">music learning</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20admission%20requirements" title=" music admission requirements"> music admission requirements</a>, <a href="https://publications.waset.org/abstracts/search?q=student%E2%80%99s%20motivation" title=" student’s motivation"> student’s motivation</a>, <a href="https://publications.waset.org/abstracts/search?q=parent%E2%80%99s%20motivation" title=" parent’s motivation"> parent’s motivation</a> </p> <a href="https://publications.waset.org/abstracts/98453/characterization-of-the-music-admission-requirements-and-evaluation-of-the-relationship-among-motivation-and-performance-achievement" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98453.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">166</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">413</span> Event Related Brain Potentials Evoked by Carmen in Musicians and Dancers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hanna%20Poikonen">Hanna Poikonen</a>, <a href="https://publications.waset.org/abstracts/search?q=Petri%20Toiviainen"> Petri Toiviainen</a>, <a href="https://publications.waset.org/abstracts/search?q=Mari%20Tervaniemi"> Mari Tervaniemi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Event-related potentials (ERPs) evoked by simple tones in the brain have been extensively studied. However, in reality the music surrounding us is spectrally and temporally complex and dynamic. Thus, the research using natural sounds is crucial in understanding the operation of the brain in its natural environment. Music is an excellent example of natural stimulation, which, in various forms, has always been an essential part of different cultures. In addition to sensory responses, music elicits vast cognitive and emotional processes in the brain. When compared to laymen, professional musicians have stronger ERP responses in processing individual musical features in simple tone sequences, such as changes in pitch, timbre and harmony. Here we show that the ERP responses evoked by rapid changes in individual musical features are more intense in musicians than in laymen, also while listening to long excerpts of the composition Carmen. Interestingly, for professional dancers, the amplitudes of the cognitive P300 response are weaker than for musicians but still stronger than for laymen. Also, the cognitive P300 latencies of musicians are significantly shorter whereas the latencies of laymen are significantly longer. In contrast, sensory N100 do not differ in amplitude or latency between musicians and laymen. These results, acquired from a novel ERP methodology for natural music, suggest that we can take the leap of studying the brain with long pieces of natural music also with the ERP method of electroencephalography (EEG), as has already been made with functional magnetic resonance (fMRI), as these two brain imaging devices complement each other. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=electroencephalography" title="electroencephalography">electroencephalography</a>, <a href="https://publications.waset.org/abstracts/search?q=expertise" title=" expertise"> expertise</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20features" title=" musical features"> musical features</a>, <a href="https://publications.waset.org/abstracts/search?q=real-life%20music" title=" real-life music"> real-life music</a> </p> <a href="https://publications.waset.org/abstracts/25311/event-related-brain-potentials-evoked-by-carmen-in-musicians-and-dancers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/25311.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">484</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">412</span> Quasi–Periodicity of Tonic Intervals in Octave and Innovation of Themes in Music Compositions</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=R.%20C.%20Tyagi">R. C. Tyagi </a> </p> <p class="card-text"><strong>Abstract:</strong></p> Quasi-periodicity of frequency intervals observed in Shruti based Absolute Scale of Music has been used to graphically identify the Anchor notes ‘Vadi’ and ‘Samvadi’ which are nodal points for expansion, elaboration and iteration of the emotional theme represented by the characteristic tonic arrangement in Raga compositions. This analysis leads to defining the Tonic parameters in the octave including the key-note frequency, tonic intervals’ anchor notes and the on-set and range of quasi-periodicities as exponents of 2. Such uniformity of representation of characteristic data would facilitate computational analysis and synthesis of music compositions and also help develop noise suppression techniques. Criteria for tuning of strings for compatibility with placement of frets on finger boards is discussed. Natural Rhythmic cycles in music compositions are analytically shown to lie between 3 and 126 beats. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=absolute%20scale" title="absolute scale">absolute scale</a>, <a href="https://publications.waset.org/abstracts/search?q=anchor%20notes" title=" anchor notes"> anchor notes</a>, <a href="https://publications.waset.org/abstracts/search?q=computational%20analysis" title=" computational analysis"> computational analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=frets" title=" frets"> frets</a>, <a href="https://publications.waset.org/abstracts/search?q=innovation" title=" innovation"> innovation</a>, <a href="https://publications.waset.org/abstracts/search?q=noise%20suppression" title=" noise suppression"> noise suppression</a>, <a href="https://publications.waset.org/abstracts/search?q=Quasi-periodicity" title=" Quasi-periodicity"> Quasi-periodicity</a>, <a href="https://publications.waset.org/abstracts/search?q=rhythmic%20cycle" title=" rhythmic cycle"> rhythmic cycle</a>, <a href="https://publications.waset.org/abstracts/search?q=tonic%20interval" title=" tonic interval"> tonic interval</a>, <a href="https://publications.waset.org/abstracts/search?q=Shruti" title=" Shruti"> Shruti</a> </p> <a href="https://publications.waset.org/abstracts/31597/quasi-periodicity-of-tonic-intervals-in-octave-and-innovation-of-themes-in-music-compositions" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/31597.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">304</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">411</span> Effects of Spectrotemporal Modulation of Music Profiles on Coherence of Cardiovascular Rhythms</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=I-Hui%20Hsieh">I-Hui Hsieh</a>, <a href="https://publications.waset.org/abstracts/search?q=Yu-Hsuan%20Hu"> Yu-Hsuan Hu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The powerful effect of music is often associated with changes in physiological responses such as heart rate and respiration. Previous studies demonstrate that Mayer waves of blood pressure, the spontaneous rhythm occurring at 0.1 Hz, corresponds to a progressive crescendo of the musical phrase. However, music contain dynamic changes in temporal and spectral features. As such, it remains unclear which aspects of musical structures optimally affect synchronization of cardiovascular rhythms. This study investigates the independent contribution of spectral pattern, temporal pattern, and dissonance level on synchronization of cardiovascular rhythms. The regularity of acoustical patterns occurring at a periodic rhythm of 0.1 Hz is hypothesized to elicit the strongest coherence of cardiovascular rhythms. Music excerpts taken from twelve pieces of Western classical repertoire were modulated to contain varying degrees of pattern regularity of the acoustic envelope structure. Three levels of dissonance were manipulated by varying the harmonic structure of the accompanying chords. Electrocardiogram and photoplethysmography signals were recorded for 5 minutes of baseline and simultaneously while participants listen to music excerpts randomly presented over headphones in a sitting position. Participants were asked to indicate the pleasantness of each music excerpt by adjusting via a slider presented on screen. Analysis of the Fourier spectral power of blood pressure around 0.1 Hz showed a significant difference between music excerpts characterized by spectral and temporal pattern regularity compared to the same content in random pattern. Phase coherence between heart rate and blood pressure increased significantly during listening to spectrally-regular phrases compared to its matched control phrases. The degree of dissonance of the accompanying chord sequence correlated with level of coherence between heart rate and blood pressure. Results suggest that low-level auditory features of music can entrain coherence of autonomic physiological variables. These findings have potential implications for using music as a clinical and therapeutic intervention for regulating cardiovascular functions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cardiovascular%20rhythms" title="cardiovascular rhythms">cardiovascular rhythms</a>, <a href="https://publications.waset.org/abstracts/search?q=coherence" title=" coherence"> coherence</a>, <a href="https://publications.waset.org/abstracts/search?q=dissonance" title=" dissonance"> dissonance</a>, <a href="https://publications.waset.org/abstracts/search?q=pattern%20regularity" title=" pattern regularity"> pattern regularity</a> </p> <a href="https://publications.waset.org/abstracts/103419/effects-of-spectrotemporal-modulation-of-music-profiles-on-coherence-of-cardiovascular-rhythms" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/103419.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">148</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">410</span> Effect of Fast and Slow Tempo Music on Muscle Endurance Time</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rohit%20Kamal">Rohit Kamal</a>, <a href="https://publications.waset.org/abstracts/search?q=Devaki%20Perumal%20Rajaram"> Devaki Perumal Rajaram</a>, <a href="https://publications.waset.org/abstracts/search?q=Rajam%20Krishna"> Rajam Krishna</a>, <a href="https://publications.waset.org/abstracts/search?q=Sai%20Kumar%20Pindagiri"> Sai Kumar Pindagiri</a>, <a href="https://publications.waset.org/abstracts/search?q=Silas%20Danielraj"> Silas Danielraj</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: According to WHO, Global health observatory at least 2.8 million people die each year because of obesity and overweight. This is mainly because of the adverse metabolic effects of obesity and overweight on blood pressure, lipid profile especially cholesterol and insulin resistance. To achieve optimum health WHO has set the BMI in the range of 18.5 to 24.9 kg/m2. Due to modernization of life style, physical exercise in the form of work is no longer a possibility and hence an effective way to burn out calories to achieve the optimum BMI is the need of the hour. Studies have shown that exercising for more than 60 minutes /day helps to maintain the weight and to reduce the weight exercise should be done for 90 minutes a day. Moderate exercise for about 30 min is essential for burning up of calories. People with low endurance fail to perform even the low intensity exercise for minimal time. Hence, it is necessary to find out some effective method to increase the endurance time. Methodology: This study was approved by the Institutional Ethical committee of our college. After getting written informed consent, 25 apparently healthy males between the age group 18-20 years were selected. Subjects are with muscular disorder, subjects who are Hypertensive, Diabetes, Smokers, Alcoholics, taking drugs affecting the muscle strength. To determine the endurance time: Maximum voluntary contraction (MVC) was measured by asking the participants to squeeze the hand grip dynamometer as hard as possible and hold it for 3 seconds. This procedure was repeated thrice and the average of the three reading was taken as the maximum voluntary contraction. The participant was then asked to squeeze the dynamometer and hold it at 70% of the maximum voluntary contraction while hearing fast tempo music which was played for about ten minutes then the participant was asked to relax for ten minutes and was made to hold the hand grip dynamometer at 70% of the maximum voluntary contraction while hearing slow tempo music. To avoid the bias of getting habituated to the procedure the order of hearing for the fast and slow tempo music was changed. The time for which they can hold it at 70% of MVC was determined by using a stop watch and that was taken as the endurance time. Results: The mean value of the endurance time during fast and slow tempo music was compared in all the subjects. The mean MVC was 34.92 N. The mean endurance time was 21.8 (16.3) seconds with slow tempo music which was more then with fast tempo music with which the mean endurance time was 20.6 (11.7) seconds. The preference was more for slow tempo music then for fast tempo music. Conclusion: Music when played during exercise by some unknown mechanism helps to increase the endurance time by alleviating the symptoms of lactic acid accumulation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=endurance%20time" title="endurance time">endurance time</a>, <a href="https://publications.waset.org/abstracts/search?q=fast%20tempo%20music" title=" fast tempo music"> fast tempo music</a>, <a href="https://publications.waset.org/abstracts/search?q=maximum%20voluntary%20contraction" title=" maximum voluntary contraction"> maximum voluntary contraction</a>, <a href="https://publications.waset.org/abstracts/search?q=slow%20tempo%20music" title=" slow tempo music"> slow tempo music</a> </p> <a href="https://publications.waset.org/abstracts/50730/effect-of-fast-and-slow-tempo-music-on-muscle-endurance-time" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/50730.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">301</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">409</span> Classical Music Unplugged: The Future of Classical Music Performance: Tradition, Technology, and Audience Engagement</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Orit%20Wolf">Orit Wolf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Classical music performance is undergoing a profound transformation, marked by a confluence of technological advancements and evolving cultural dynamics. This academic paper explores the multifaceted changes and challenges faced by classical music performance, considering the impact of artificial intelligence (AI) along with other vital factors shaping this evolution. In the contemporary era, classical music is experiencing shifts in performance practices. This paper delves into these changes, emphasizing the need for adaptability within the classical music world. From repertoire selection and concert formats to artistic expression, performers and institutions navigate a delicate balance between tradition and innovation. We explore how these changes impact the authenticity and vitality of classical music performances. Furthermore, the influence of AI in the classical music concert world cannot be underestimated. AI technologies are making inroads into various aspects, from composition assistance to rehearsal and live performances. This paper examines the transformative effects of AI, considering how it enhances precision, adaptability, and creative exploration for musicians. We explore the implications for composers, performers, and the overall concert experience while addressing ethical concerns and creative opportunities. In addition to AI, there is the importance of cross-genre interactions within the classical music sphere. Mash-ups and collaborations with artists from diverse musical backgrounds are redefining the boundaries of classical music and creating works that resonate with a wider and more diverse audience. The benefits of cross-pollination in classical music seem crucial, offering a fresh perspective to listeners. As an active concert artist, Orit Wolf will share how the expectations of classical music audiences are evolving. Modern concertgoers seek not only exceptional musical performances but also immersive experiences that may involve technology, multimedia, and interactive elements. This paper examines how classical musicians and institutions are adapting to these changing expectations, using technology and innovative concert formats to deliver a unique and enriched experience to their audiences. As these changes and challenges reshape the classical music world, the need for a harmonious coexistence of tradition, technology, and innovation becomes evident. Musicians, composers, and institutions are striving to find a balance that ensures classical music remains relevant in a rapidly changing cultural landscape while maintaining the value it brings to compositions and audiences. This paper, therefore, aims to explore the evolving trends in classical music performance. It considers the influence of AI as one element within the broader context of change, highlighting the necessity of adaptability, cross-genre interactions, and a response to evolving audience expectations. By doing so, the classical music world can navigate this transformative period while preserving its timeless traditions and adding value to both performers and listeners. Orit Wolf, an international concert pianist, fulfils her vision to bring this music in new ways to mass audiences and will share her personal and professional experience as an artist who goes on stage and makes disruptive concerts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cross%20culture%20collaboration" title="cross culture collaboration">cross culture collaboration</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20performance%20and%20ai" title=" music performance and ai"> music performance and ai</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20music%20in%20the%20digital%20age" title=" classical music in the digital age"> classical music in the digital age</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20concerts" title=" classical concerts"> classical concerts</a>, <a href="https://publications.waset.org/abstracts/search?q=innovation%20and%20technology" title=" innovation and technology"> innovation and technology</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20innovation" title=" performance innovation"> performance innovation</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20engagement%20in%20classical%20concerts" title=" audience engagement in classical concerts"> audience engagement in classical concerts</a> </p> <a href="https://publications.waset.org/abstracts/175572/classical-music-unplugged-the-future-of-classical-music-performance-tradition-technology-and-audience-engagement" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/175572.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">64</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">408</span> Live Music Promotion in Burundi Country</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aster%20Anderson%20Rugamba">Aster Anderson Rugamba</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Context: Live music in Burundi is currently facing neglect and a decline in popularity, resulting in artists struggling to generate income from this field. Additionally, live music from Burundi has not been able to gain traction in the international market. It is essential to establish various structures and organizations to promote cultural events and support artistic endeavors in music and performing arts. Research Aim: The aim of this research is to seek new knowledge and understanding in the field of live music and its content in Burundi. Furthermore, it aims to connect with other professionals in the industry, make new discoveries, and explore potential collaborations and investments. Methodology: The research will utilize both quantitative and qualitative research methodologies. The quantitative approach will involve a sample size of 57 musician artists in Burundi. It will employ closed-ended questions and gather quantitative data to ensure a large sample size and high external validity. The qualitative approach will provide deeper insights and understanding through open-ended questions and in-depth interviews with selected participants. Findings: The research expects to find new theories, methodologies, empirical findings, and applications of existing knowledge that can contribute to the development of live music in Burundi. By exploring the challenges faced by artists and identifying potential solutions, the study aims to establish live music as a catalyst for development and generate a positive impact on both the Burundian and international community. Theoretical Importance: Theoretical contributions of this research will expand the current understanding of the live music industry in Burundi. It will propose new theories and models to address the issues faced by artists and highlight the potential of live music as a lucrative and influential industry. By bridging the gap between theory and practice, the research aims to provide valuable insights for academics, professionals, and policymakers. Data Collection and Analysis Procedures: Data will be collected through surveys, interviews, and archival research. Surveys will be administered to the sample of 57 musician artists, while interviews will be conducted to gain in-depth insights from selected participants. The collected data will be analyzed using both quantitative and qualitative methods, including statistical analysis and thematic analysis, respectively. This mixed-method approach will ensure a comprehensive and rigorous examination of the research questions addressed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=business%20music%20in%20burundi" title="business music in burundi">business music in burundi</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20in%20burundi" title=" music in burundi"> music in burundi</a>, <a href="https://publications.waset.org/abstracts/search?q=promotion%20of%20art" title=" promotion of art"> promotion of art</a>, <a href="https://publications.waset.org/abstracts/search?q=burundi%20music%20culture" title=" burundi music culture"> burundi music culture</a> </p> <a href="https://publications.waset.org/abstracts/172590/live-music-promotion-in-burundi-country" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172590.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">61</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">407</span> Non-Contact Digital Music Instrument Using Light Sensing Technology </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aishwarya%20Ravichandra">Aishwarya Ravichandra</a>, <a href="https://publications.waset.org/abstracts/search?q=Kirtana%20Kirtivasan"> Kirtana Kirtivasan</a>, <a href="https://publications.waset.org/abstracts/search?q=Adithi%20Mahesh"> Adithi Mahesh</a>, <a href="https://publications.waset.org/abstracts/search?q=Ashwini%20S.Savanth"> Ashwini S.Savanth</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A Non-Contact Digital Music System has been conceptualized and implemented to create a new era of digital music. This system replaces the strings of a traditional stringed instrument with laser beams to avoid bruising of the user’s hand. The system consists of seven laser modules, detector modules and distance sensors that form the basic hardware blocks of this instrument. Arduino ATmega2560 microcontroller is used as the primary interface between the hardware and the software. MIDI (Musical Instrument Digital Interface) is used as the protocol to establish communication between the instrument and the virtual synthesizer software. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arduino" title="Arduino">Arduino</a>, <a href="https://publications.waset.org/abstracts/search?q=detector" title=" detector"> detector</a>, <a href="https://publications.waset.org/abstracts/search?q=laser" title=" laser"> laser</a>, <a href="https://publications.waset.org/abstracts/search?q=MIDI" title=" MIDI"> MIDI</a>, <a href="https://publications.waset.org/abstracts/search?q=note%20on" title=" note on"> note on</a>, <a href="https://publications.waset.org/abstracts/search?q=note%20off" title=" note off"> note off</a>, <a href="https://publications.waset.org/abstracts/search?q=pitch%20bend" title=" pitch bend"> pitch bend</a>, <a href="https://publications.waset.org/abstracts/search?q=Sharp%20IR%20distance%20sensor" title=" Sharp IR distance sensor"> Sharp IR distance sensor</a> </p> <a href="https://publications.waset.org/abstracts/76975/non-contact-digital-music-instrument-using-light-sensing-technology" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/76975.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">407</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">406</span> Tajwīd and Mawwāl Toward Khushūʿ in Islam and Tarab in Arab Music: Common Musical Elements</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Moussa%20Khalaf">Mohammad Moussa Khalaf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As a significant term in Arab music, ṭarab identifies a particular expression of feelings and emotions, especially in the vocal practice of Arab music. Ṭarab aims to take both the performer and the audience from a normal feeling state to a new state of spiritual feeling through the art of mawwāl. Because of the expertise required for mawwāl, the ability to reach ṭarab has long been considered an indication that a musician has reached a high musical level. Another significant Islamic concept related to feelings and emotions is khushūʿ. It is known that one of the ways to get Khāsheʿ (humble to God) is the artistic reading of the holy Qur’ān. The artistic recitation of the Qur’ān is tajwīd. Like mawwāl, tajwīd requires a high-level rendition to lead the listener to the special emotional state. The research will focus on the relationships between ṭarab, khushūʿ, tajwīd, and mawwāl in Islamic-Arab culture in a way that has not been addressed previously. The relationships between tajwid and mawwāl, ṭarab and khushūʿ would be identified through the examination of musical factors, socio-cultural factors, and emotional factors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arab%20music" title="Arab music">Arab music</a>, <a href="https://publications.waset.org/abstracts/search?q=%E1%B9%ACarab" title=" Ṭarab"> Ṭarab</a>, <a href="https://publications.waset.org/abstracts/search?q=Maww%C4%81l" title=" Mawwāl"> Mawwāl</a>, <a href="https://publications.waset.org/abstracts/search?q=Khush%C5%AB%CA%BF" title=" Khushūʿ"> Khushūʿ</a>, <a href="https://publications.waset.org/abstracts/search?q=Tajw%C4%ABd" title=" Tajwīd"> Tajwīd</a>, <a href="https://publications.waset.org/abstracts/search?q=Islam" title=" Islam"> Islam</a> </p> <a href="https://publications.waset.org/abstracts/173495/tajwid-and-mawwal-toward-khushu-in-islam-and-tarab-in-arab-music-common-musical-elements" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173495.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">92</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">405</span> Advocating for Indigenous Music in Latin American Music Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Francisco%20Luis%20Reyes">Francisco Luis Reyes</a> </p> <p class="card-text"><strong>Abstract:</strong></p> European colonization had a profound impact on Latin America. The influence of the old continent can be perceived in the culture, religion, and language of the region as well as the beliefs and attitudes of the population. Music education is not an exception to this phenomenon. With Europeans controlling cultural life and erecting educational institutions across the continent for several centuries, Western European Art Music (WEAM) has polarized music learning in formal spaces. In contrast, the musics from the indigenous population, the African slaves, and the ones that emerged as a result of the cultural mélanges have largely been excluded from primary and secondary schooling. The purpose of this paper is to suggest the inclusion of indigenous music education in primary and secondary music education. The paper employs a philosophical inquiry in order to achieve this aim. Philosophical inquiry seeks to uncover and examine individuals' unconscious beliefs, principles, values, and assumptions to envision potential possibilities. This involves identifying and describing issues within current music teaching and learning practices. High-quality philosophical research tackles problems that are sufficiently narrow (addressing a specific aspect of a single complex topic), realistic (reflecting the experiences of music education), and significant (addressing a widespread and timely issue). Consequently, this methodological approach fits this topic, as the research addresses the omnipresence of WEAM in Latin American music education, the exclusion of indigenous music, and argues about the transformational impact said artistic expressions can have on practices in the region. The paper initially addresses how WEAM became ubiquitous in the region by recounting historical events, and adressing the issues other types of music face entering higher education. According to Shifres and Rosabal-Coto (2017) Latin America still upholds the musical heritage of their colonial period, and its formal music education institutions promote the European ontology instilled during European expansion. In accordance, the work of Reyes and Lorenzo-Quiles (2024), and Soler, Lorenzo-Quiles, and Hargreaves (2014), demonstrate how music institutions in the region uphold foreign narratives. Their studies show that music programs in Puerto Rico and Colombia instruct students in WEAM as well as require skills in said art form to enter the profession, just like other authors have argued (Cain & Walden, 2019, Walden, 2016). Subsequently, the research explains the issues faced by prospective music educators that do not practice WEAM. Roberts (1991a, 1991b, 1993), Green (2012) have found that music education students that do not adhere to the musical culture of their institution, are less likely to finish their degrees. Hence, practicioners of tradional musics might feel out of place in the environment. The ubiquity of WEAM and the exclusion of traditional musics of the region, provide the primary challenges to the inclusion of indigenous musics in formal spaces in primary and secondary education. The presentation then laids the framework for the inclusion indigenous music, and conclusively offers examples of how the musical expressions from the continent can improove the music education practices of the region. As an ending, the article highlights the benefits of these musics that are lacking in current practices. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=indigenous%20music%20education" title="indigenous music education">indigenous music education</a>, <a href="https://publications.waset.org/abstracts/search?q=postmodern%20music%20education" title=" postmodern music education"> postmodern music education</a>, <a href="https://publications.waset.org/abstracts/search?q=decolonization%20in%20music%20education" title=" decolonization in music education"> decolonization in music education</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education%20practice" title=" music education practice"> music education practice</a>, <a href="https://publications.waset.org/abstracts/search?q=Latin%20American%20music%20education" title=" Latin American music education"> Latin American music education</a> </p> <a href="https://publications.waset.org/abstracts/187661/advocating-for-indigenous-music-in-latin-american-music-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187661.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">404</span> Music Therapy Intervention as a Means of Stimulating Communicative Abilities of Seniors with Neurocognitive Disorders – Theory versus Practice</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pavel%20Svoboda">Pavel Svoboda</a>, <a href="https://publications.waset.org/abstracts/search?q=Old%C5%99ich%20M%C3%BCller"> Oldřich Müller</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper contains a screening of the opinions of helping professional workers working in a home for seniors with individuals with neurocognitive disorders and compares them with the opinions of a younger generation of students who are just preparing for this work. The authors carried out a comparative questionnaire survey with both target groups, focusing on the analysis and comparison of possible differences in their knowledge in the field of care for elderly people with neurocognitive disorders. Specifically, they focused on knowledge and experience with approaches, methods and tools applicable within the framework of music therapy interventions, as they are understood in practice in comparison with the theoretical knowledge of secondary school students focused on social work. The questionnaire was mainly aimed at assessing the knowledge of the possibilities of effective memory stimulation of the elderly and their communication skills using the means of music. The conducted investigation was based on the research of studies dealing with so-called non-pharmacological approaches to the given clientele; for professional caregivers, it followed music therapy lessons, which the authors regularly implemented from the beginning of 2022. Its results will, among other things, serve as the basis for an upcoming study with a scoping design review. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=neurocognitive%20disorders" title="neurocognitive disorders">neurocognitive disorders</a>, <a href="https://publications.waset.org/abstracts/search?q=seniors" title=" seniors"> seniors</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20therapy%20intervention" title=" music therapy intervention"> music therapy intervention</a>, <a href="https://publications.waset.org/abstracts/search?q=melody" title=" melody"> melody</a>, <a href="https://publications.waset.org/abstracts/search?q=rhythm" title=" rhythm"> rhythm</a>, <a href="https://publications.waset.org/abstracts/search?q=text" title=" text"> text</a>, <a href="https://publications.waset.org/abstracts/search?q=memory%20stimulation" title=" memory stimulation"> memory stimulation</a>, <a href="https://publications.waset.org/abstracts/search?q=communication%20skills" title=" communication skills"> communication skills</a> </p> <a href="https://publications.waset.org/abstracts/167776/music-therapy-intervention-as-a-means-of-stimulating-communicative-abilities-of-seniors-with-neurocognitive-disorders-theory-versus-practice" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167776.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">69</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">403</span> Constructing a Grounded Theory of Parents' Musical Engagement with Their Premature Baby Contributing to Their Emerging Parental Identity in a Neonatal Unit</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elizabeth%20McLean">Elizabeth McLean</a>, <a href="https://publications.waset.org/abstracts/search?q=Katrina%20Skewes-McFerran"> Katrina Skewes-McFerran</a>, <a href="https://publications.waset.org/abstracts/search?q=Grace%20Thompson"> Grace Thompson </a> </p> <p class="card-text"><strong>Abstract:</strong></p> Scholarship highlights the need to further examine and better understand and foster the process of becoming a parent to a premature baby in the neonatal context to support the critical development of the parent-infant relationship. Music therapy research documents significant benefits of music therapy on neonatal physiological and neurodevelopmental function, reduced maternal anxiety and validating parents’ relationship with their premature baby, yet limited studies examine the role of music in supporting parental identity. This was a multi-site study, exploring parents’ musical engagement with their hospitalised baby and parental identity in a NU. In-depth interviews with nine parents of a premature baby across varying time points in their NU journey took place. Data collection and analysis was influenced by Constructive Grounded Theory methodology. Findings in the form of a substantive grounded theory illuminated the contribution of parents’ musical engagement on their sense of parental identity in the NU. Specifically, the significance of their baby’s level and type of response during musical interactions in influencing parents’ capacity to engage in musical dialogue with their baby emerged. Specific conditions that acted as both barriers and fosters in parents’ musical engagement across a high- risk pregnancy and NU admission also emerged. Recommendations for future research into the role of music and music therapy in supporting parental coping and transition to parenthood during a high-risk pregnancy and birth and beyond the NU will be discussed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=grounded%20theory" title="grounded theory">grounded theory</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20engagement" title=" musical engagement"> musical engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20therapy" title=" music therapy"> music therapy</a>, <a href="https://publications.waset.org/abstracts/search?q=parental%20identity" title=" parental identity"> parental identity</a> </p> <a href="https://publications.waset.org/abstracts/87076/constructing-a-grounded-theory-of-parents-musical-engagement-with-their-premature-baby-contributing-to-their-emerging-parental-identity-in-a-neonatal-unit" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87076.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">402</span> Listening to Circles, Playing Lights: A Study of Cross-Modal Perception in Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Roni%20Granot">Roni Granot</a>, <a href="https://publications.waset.org/abstracts/search?q=Erica%20Polini"> Erica Polini</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music is often described in terms of non-auditory adjectives such as a rising melody, a bright sound, or a zigzagged contour. Such cross modal associations have been studied with simple isolated musical parameters, but only rarely in rich musical contexts. The current study probes cross sensory associations with polarity based dimensions by means of pairings of 10 adjectives: blunt-sharp, relaxed-tense, heavy-light, low (in space)-high, low (pitch)-high, big-small, hard-soft, active-passive, bright-dark, sad-happy. 30 participants (randomly assigned to one of two groups) were asked to rate one of 27 short saxophone improvisations on a 1 to 6 scale where 1 and six correspond to the opposite pole of each dimension. The 27 improvisations included three exemplars for each of three dimensions (size, brightness, sharpness), played by three different players. Here we focus on the question of whether ratings of scales corresponding with the musical dimension were consistently rated as such (e.g. music improvised to represent a white circle rated as bright in contrast with music improvised to represent a dark circle rated as dark). Overall the average scores by dimension showed an upward trend in the equivalent verbal scale, with a low rating for small, bright and sharp musical improvisations and higher scores for large, dark and blunt improvisations. Friedman tests indicate a statistically significant difference for brightness (χ2 (2) = 19.704, p = .000) and sharpness dimensions (χ2 (2) = 15.750, p = .000), but not for size (χ2 (2) = 1.444, p = .486). Post hoc analysis with Wilcoxon signed-rank tests within the brightness dimension, show significant differences among all possible parings resulted in significant differences: the rankings of 'bright' and 'dark' (Z = -3.310, p = .001), of 'bright' and 'medium' (Z = -2.438, p = .015) and of 'dark' and 'medium' music (Z = -2.714, p = .007); but only differences between the extreme contrasts within the sharpness dimension : 'sharp' and 'blunt' music (Z = -3.147, p = .002) and between 'sharp' and 'medium' music rated on the sharpness scale (Z = - 3.054, p = .002), but not between 'medium' and 'blunt' music (Z = -.982, p = .326). In summary our study suggests a privileged link between music and the perceptual and semantic domain of brightness. In contrast, size seems to be very difficult to convey in music, whereas sharpness seems to be mapped onto the two extremes (sharp vs. blunt) rather than continuously. This is nicely reflected in the musical literature in titles and texts which stress the association between music and concepts of light or darkness rather than sharpness or size. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audiovisual" title="audiovisual">audiovisual</a>, <a href="https://publications.waset.org/abstracts/search?q=brightness" title=" brightness"> brightness</a>, <a href="https://publications.waset.org/abstracts/search?q=cross-modal%20perception" title=" cross-modal perception"> cross-modal perception</a>, <a href="https://publications.waset.org/abstracts/search?q=cross-sensory%20correspondences" title=" cross-sensory correspondences"> cross-sensory correspondences</a>, <a href="https://publications.waset.org/abstracts/search?q=size" title=" size"> size</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20angularity" title=" visual angularity"> visual angularity</a> </p> <a href="https://publications.waset.org/abstracts/57313/listening-to-circles-playing-lights-a-study-of-cross-modal-perception-in-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/57313.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">221</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">401</span> Using Songs as Direct and Indirect Vehicles of Peace</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Johannes%20Van%20Der%20Sandt">Johannes Van Der Sandt</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores and reflects on the power of music, and more specific singing as an instrument for integration, inclusion, group cohesion, collective cooperation, repairing social relationships and facilitating dialogue between groups in conflict. The General Assembly of the United Nations has declared the 21st of September as International Day of Peace. This day is dedicated to advocate and strengthen among all people, an annual day to strive for no violence and cease-fire. What role does music play in strengthening ideals of peace? The findings of this paper is a result of field and online research as well as a literature survey to identify the most important examples of institutions, instruments or initiatives where music serves as a vehicle for the transmission and promoting of peace ideals and acting to assist movements for social change. Important examples where singing and music were used as tools for peace activism are the 1987 Estonian Singing Revolution and the more recent peace engagement in the Afghan Conflict, both very good examples of the cultural capital of the local population used as catalyst for promoting peace. The author offers a concise and relevant overview of such initiatives with the aim to validate the power of music and song as tools to support the United Nation’s Declaration on the Promotion Among Youth of the Ideals of Peace, Mutual Respect and Understanding Between Peoples: Young people should be educated and made aware of the ideals of peace. They should be educated in a spirit of mutual understanding and respect for one another in order to develop an attitude of striving for equal rights for all human beings, believing in economic and social growth for all, together with a belief in disarmament and working towards the maintenance of peace and security worldwide. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=conflict" title="conflict">conflict</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=peace" title=" peace"> peace</a>, <a href="https://publications.waset.org/abstracts/search?q=singing" title=" singing"> singing</a> </p> <a href="https://publications.waset.org/abstracts/60291/using-songs-as-direct-and-indirect-vehicles-of-peace" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60291.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">281</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">400</span> Correlating Musical Subject and Dialectical Subject to Develop a Critical Approach to Ideology in Musical Analysis and Composition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=James%20Waide">James Waide</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In music, subject typically denotes the initial idea to which the entire composition refers—a concept congruous with Aristotle's notion of subject as primary substance, in the sense of an irreducible this particular. Gioseffo Zarlino, who established subject (soggetto) as a musical term, insisted the composer as “rediscovering” the subject within their music in order to “[bring] it to perfection” and, furthermore, that if the composer had not rediscovered the subject already, then one would simply take the first part of the composition to be the subject. Meanwhile, Žižek reads the Hegelian subject (as negativity set against positive object) through Lacanian Psychoanalysis (in which the subject is a kind of fictive entity of the clinic: a mere appearance which sits atop the objects of analysis) in the concept of Absolute Recoil. For Žižek, subject exists retroactively in Absolute Recoil from object, meaning subject is a void which only has meaning because of the object it is seen through. Following the work of theorists such as Adorno and Althusser, one can understand the ideological construction of such a subject. It may be argued that in Zarlino, musical subject can be similarly read as retroactively constructed, either by the composer or the listener. Furthermore, in recent work, Samuel Wilson identifies different kinds of subjects in music which can be psychoanalytically examined, including the fictive subject: a purely musical entity raised to the level of psychoanalytic subject. On which basis if, as Adorno insisted, 'authentic' music constitutes 'cognition without concepts', where and what is this subject without concept?. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=absolute%20recoil" title="absolute recoil">absolute recoil</a>, <a href="https://publications.waset.org/abstracts/search?q=critical%20theory" title=" critical theory"> critical theory</a>, <a href="https://publications.waset.org/abstracts/search?q=ideology" title=" ideology"> ideology</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20analysis" title=" music analysis"> music analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=psychoanalysis" title=" psychoanalysis"> psychoanalysis</a>, <a href="https://publications.waset.org/abstracts/search?q=retroactivity" title=" retroactivity"> retroactivity</a>, <a href="https://publications.waset.org/abstracts/search?q=subject" title=" subject"> subject</a> </p> <a href="https://publications.waset.org/abstracts/176756/correlating-musical-subject-and-dialectical-subject-to-develop-a-critical-approach-to-ideology-in-musical-analysis-and-composition" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/176756.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">72</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">399</span> Music and Movies: Story about a Suicide</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Karen%20V.%20Lee">Karen V. Lee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The background and significance of this study involves an autoethnographic story that shares research results about how music and movies influence the suicide of a new music teacher working in a public school. The performative narrative duet demonstrates how music and movies highlight social issues when the new teacher cannot cope with allegations surrounding professional issues. Both university advisors are drawn into deep reflection about the wider political issues that arise around the transition from the student-teacher internship process to the teaching career with the stark reality of teaching profession in the 21st century. This performance of story and music creates a transformative composition of reading, hearing, feeling while provoking visceral and emotional responses. Sometimes, young teachers are forced to take a leave of absence to reflect upon their practice with adolescents. In this extreme circumstance, the outcome was suicide. The qualitative research method involves an autoethnographic story as the author is methodologist, theoretician, and participant. Sub-themes surround film, music education and how movie resources have influenced his tragic misguided decision regarding social, emotional, physical, spiritual, and practical strategies to cope with the allegations. Major findings from this story demonstrate how lived experiences can resonate the importance of providing more education and resources to new teachers. The research provides substantive contribution, aesthetic merit, as the impact of movies and music influences the suicide. The reflexive account of storied sensory experiences situated in culture settings becomes a way to describe and seek verisimilitude by evoking lifelike and believable feelings from others. Sadly, the circumstance surrounding the story involving the allegations of a teacher sexually harassing a student is not uncommon in society. However, the young teacher never received counseling to cope with the allegations but instead was influenced by music and movies and opted for suicide. In conclusion, stories share the implications for film and media studies as music and movies can encourage a moral mission to empower individuals with despair and emotional impairment to embrace professional support to assist with emotional and legal challenges encountered in the field of teaching. It is from media studies that education and awareness surrounding suicide can disseminate information about the tragic outcome. <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=movies" title=" movies"> movies</a>, <a href="https://publications.waset.org/abstracts/search?q=suicide" title=" suicide"> suicide</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=autoethnography" title=" autoethnography"> autoethnography</a> </p> <a href="https://publications.waset.org/abstracts/43712/music-and-movies-story-about-a-suicide" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/43712.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">230</span> </span> </div> </div> <ul class="pagination"> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20esthetics&page=5" rel="prev">&lsaquo;</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20esthetics&page=1">1</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20esthetics&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20esthetics&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20esthetics&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=music%20esthetics&page=5">5</a></li> <li class="page-item active"><span 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