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music</title> <meta name="description" content="Search results for: impact of music"> <meta name="keywords" content="impact of music"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="impact of music"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 11558</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: impact of music</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11288</span> Medical versus Non-Medical Students' Opinions about Academic Stress Management Using Unconventional Therapies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ramona-Niculina%20Jurcau">Ramona-Niculina Jurcau</a>, <a href="https://publications.waset.org/abstracts/search?q=Ioana-Marieta%20Jurcau"> Ioana-Marieta Jurcau</a>, <a href="https://publications.waset.org/abstracts/search?q=Dong%20Hun%20Kwak"> Dong Hun Kwak</a>, <a href="https://publications.waset.org/abstracts/search?q=Nicolae-Alexandru%20Colceriu"> Nicolae-Alexandru Colceriu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background: Stress management (SM) is a topic of great academic interest and equally a task to accomplish. In addition, it is recognized the beneficial role of unconventional therapies (UCT) in stress modulation. Aims: The aim was to evaluate medical (MS) versus non-medical students’ (NMS) opinions about academic stress management (ASM) using UCT. Methods: MS (n=103, third year males and females) and NMS (n=112, males and females, from humanities faculties, different years of study), out of their academic program, voluntarily answered to a questionnaire concerning: a) Classification of the four most important academic stress factors; b) The extent to which their daily life influences academic stress; c) The most important SM methods they know; d) Which of these methods they are applying; e) the UCT they know or about which they have heard; f) Which of these they know to have stress modulation effects; g) Which of these UCT, participants are using or would like to use for modulating stress; and if participants use UTC for their own choose or following a specialist consultation in those therapies (SCT); h) If they heard about the following UCT and what opinion they have (using visual analogue scale) about their use (following CST) for the ASM: Phytotherapy (PT), apitherapy (AT), homeopathy (H), ayurvedic medicine (AM), traditional Chinese medicine (TCM), music therapy (MT), color therapy (CT), forest therapy (FT). Results: Among the four most important academic stress factors, for MS more than for NMS, are: busy schedule, large amount of information taught; high level of performance required, reduced time for relaxing. The most important methods for SM that MS and NMS know, hierarchically are: listen to music, meeting friends, playing sport, hiking, sleep, regularly breaks, seeing positive side, faith; of which, NMS more than MS, are partially applying to themselves. UCT about which MS and less NMS have heard, are phytotherapy, apitherapy, acupuncture, reiki. Of these UTC, participants know to have stress modulation effects: some plants, bee’s products and music; they use or would like to use for ASM (the majority without SCT) certain teas, honey and music. Most of MS and only some NMS heard about PT, AT, TCM, MT and much less about H, AM, CT, TT. NMS more than MS, would use these UCT, following CST. Conclusions: 1) Academic stress is similarly reflected in MS and NMS opinions. 2) MS and NMS apply similar but very few UCT for stress modulation. 3) Information that MS and NMS have about UCT and their ASM application is reduced. 4) It is remarkable that MS and especially NMS, are open to UCT use for ASM, following an SCT. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=academic%20stress" title="academic stress">academic stress</a>, <a href="https://publications.waset.org/abstracts/search?q=stress%20management" title=" stress management"> stress management</a>, <a href="https://publications.waset.org/abstracts/search?q=stress%20modulation" title=" stress modulation"> stress modulation</a>, <a href="https://publications.waset.org/abstracts/search?q=medical%20students" title=" medical students"> medical students</a>, <a href="https://publications.waset.org/abstracts/search?q=non-medical%20students" title=" non-medical students"> non-medical students</a>, <a href="https://publications.waset.org/abstracts/search?q=unconventional%20therapies" title=" unconventional therapies"> unconventional therapies</a> </p> <a href="https://publications.waset.org/abstracts/54768/medical-versus-non-medical-students-opinions-about-academic-stress-management-using-unconventional-therapies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/54768.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">356</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">11287</span> The Evolution of the Piano Preludes by Focusing on Bach, Chopin and Debussy’s Work</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This document follows the development of the prelude genre by analyzing specific pieces from a representative selection of composer from Bach to Shostakovich in every era. The research aims to prove the existence of an evolutionary axis in the genre of prelude's history, which is believed to be fading. In this research, Bach, Chopin, and Debussy's works are demonstrated and explored by creating a definition of the genre on his own terms and having an impact on future composers in the following generations. Taking into account, the educational aspect of the prelude and its connection to the genre of study, a brief conversation about it is also provided with an assessment of shorter versions of the genre, for instance, Chopin's preludes. <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=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=prelude" title=" prelude"> prelude</a>, <a href="https://publications.waset.org/abstracts/search?q=Bach" title=" Bach"> Bach</a>, <a href="https://publications.waset.org/abstracts/search?q=Chopin" title=" Chopin"> Chopin</a>, <a href="https://publications.waset.org/abstracts/search?q=Debussy" title=" Debussy"> Debussy</a> </p> <a href="https://publications.waset.org/abstracts/186517/the-evolution-of-the-piano-preludes-by-focusing-on-bach-chopin-and-debussys-work" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186517.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">47</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">11286</span> Spatial Audio Player Using Musical Genre Classification</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jun-Yong%20Lee">Jun-Yong Lee</a>, <a href="https://publications.waset.org/abstracts/search?q=Hyoung-Gook%20Kim"> Hyoung-Gook Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, we propose a smart music player that combines the musical genre classification and the spatial audio processing. The musical genre is classified based on content analysis of the musical segment detected from the audio stream. In parallel with the classification, the spatial audio quality is achieved by adding an artificial reverberation in a virtual acoustic space to the input mono sound. Thereafter, the spatial sound is boosted with the given frequency gains based on the musical genre when played back. Experiments measured the accuracy of detecting the musical segment from the audio stream and its musical genre classification. A listening test was performed based on the virtual acoustic space based spatial audio processing. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=automatic%20equalization" title="automatic equalization">automatic equalization</a>, <a href="https://publications.waset.org/abstracts/search?q=genre%20classification" title=" genre classification"> genre classification</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20segment%20detection" title=" music segment detection"> music segment detection</a>, <a href="https://publications.waset.org/abstracts/search?q=spatial%20audio%20processing" title=" spatial audio processing"> spatial audio processing</a> </p> <a href="https://publications.waset.org/abstracts/7561/spatial-audio-player-using-musical-genre-classification" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7561.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">429</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">11285</span> Using a Card Game as a Tool for Developing a Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Matthias%20Haenisch">Matthias Haenisch</a>, <a href="https://publications.waset.org/abstracts/search?q=Katharina%20Hermann"> Katharina Hermann</a>, <a href="https://publications.waset.org/abstracts/search?q=Marc%20Godau"> Marc Godau</a>, <a href="https://publications.waset.org/abstracts/search?q=Verena%20Weidner"> Verena Weidner</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Over the past two decades, international music education has been characterized by a growing interest in informal learning for formal contexts and a "compositional turn" that has moved from closed to open forms of composing. This change occurs under social and technological conditions that permeate 21st-century musical practices. This forms the background of Musical Communities in the (Post)Digital Age (MusCoDA), a four-year joint research project of the University of Erfurt (UE) and the University of Education Karlsruhe (PHK), funded by the German Federal Ministry of Education and Research (BMBF). Both explore songwriting processes as an example of collective creativity in (post)digital communities, one in formal and the other in informal learning contexts. Collective songwriting will be studied from a network perspective, that will allow us to view boundaries between both online and offline as well as formal and informal or hybrid contexts as permeable and to reconstruct musical learning practices. By comparing these songwriting processes, possibilities for a pedagogical-didactic interweaving of different educational worlds are highlighted. Therefore, the subproject of the University of Erfurt investigates school music lessons with the help of interviews, videography, and network maps by analyzing new digital pedagogical and didactic possibilities. In the first step, the international literature on songwriting in the music classroom was examined for design development. The analysis focused on the question of which methods and practices are circulating in the current literature. Results from this stage of the project form the basis for the first instructional design that will help teachers in planning regular music classes and subsequently reconstruct musical learning practices under these conditions. In analyzing the literature, we noticed certain structural methods and concepts that recur, such as the Building Blocks method and the pre-structuring of the songwriting process. From these findings, we developed a deck of cards that both captures the current state of research and serves as a method for design development. With this deck of cards, both teachers and students themselves can plan their individual songwriting lessons by independently selecting and arranging topic, structure, and action cards. In terms of science communication, music educators' interactions with the card game provide us with essential insights for developing the first design. The overall goal of MusCoDA is to develop an empirical model of collective musical creativity and learning and an instructional design for teaching music in the postdigital age. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=card%20game" title="card game">card game</a>, <a href="https://publications.waset.org/abstracts/search?q=collective%20songwriting" title=" collective songwriting"> collective songwriting</a>, <a href="https://publications.waset.org/abstracts/search?q=community%20of%20practice" title=" community of practice"> community of practice</a>, <a href="https://publications.waset.org/abstracts/search?q=network" title=" network"> network</a>, <a href="https://publications.waset.org/abstracts/search?q=postdigital" title=" postdigital"> postdigital</a> </p> <a href="https://publications.waset.org/abstracts/146534/using-a-card-game-as-a-tool-for-developing-a-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146534.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">11284</span> Experimental Study of Upsetting and Die Forging with Controlled Impact</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=T.%20Penchev">T. Penchev</a>, <a href="https://publications.waset.org/abstracts/search?q=D.%20Karastoyanov"> D. Karastoyanov</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The results from experimental research of deformation by upsetting and die forging of lead specimens wit controlled impact are presented. Laboratory setup for conducting the investigations, which uses cold rocket engine operated with compressed air, is described. The results show that when using controlled impact is achieving greater plastic deformation and consumes less impact energy than at ordinary impact deformation process. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=rocket%20engine" title="rocket engine">rocket engine</a>, <a href="https://publications.waset.org/abstracts/search?q=forging%20hammer" title=" forging hammer"> forging hammer</a>, <a href="https://publications.waset.org/abstracts/search?q=sticking%20impact" title=" sticking impact"> sticking impact</a>, <a href="https://publications.waset.org/abstracts/search?q=plastic%20deformation" title=" plastic deformation"> plastic deformation</a> </p> <a href="https://publications.waset.org/abstracts/3645/experimental-study-of-upsetting-and-die-forging-with-controlled-impact" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/3645.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">371</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">11283</span> Briquetting of Metal Chips by Controlled Impact: Experimental Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Todor%20Penchev">Todor Penchev</a>, <a href="https://publications.waset.org/abstracts/search?q=Dimitar%20Karastojanov"> Dimitar Karastojanov</a>, <a href="https://publications.waset.org/abstracts/search?q=Ivan%20Altaparmakov"> Ivan Altaparmakov</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For briquetting of metal chips are used hydraulic and mechanical presses. The density of the briquettes in this case is about 60% - 70 % on the density of solid metal. In this work are presented the results of experimental studies for briquetting of metal chips, by using a new technology for impact briquetting. The used chips are by Armco iron, steel, cast iron, copper, aluminum and brass. It has been found that: (i) in a controlled impact the density of the briquettes can be increases up to 30%; (ii) at the same specific impact energy Es (J/sm3) the density of the briquettes increases with increasing of the impact velocity; (iii), realization of the repeated impact leads to decrease of chips density, which can be explained by distribution of elastic waves in the briquette. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=briquetting" title="briquetting">briquetting</a>, <a href="https://publications.waset.org/abstracts/search?q=chips%20briquetting" title=" chips briquetting"> chips briquetting</a>, <a href="https://publications.waset.org/abstracts/search?q=impact%20briquetting" title=" impact briquetting"> impact briquetting</a>, <a href="https://publications.waset.org/abstracts/search?q=controlled%20impact" title=" controlled impact"> controlled impact</a> </p> <a href="https://publications.waset.org/abstracts/10962/briquetting-of-metal-chips-by-controlled-impact-experimental-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/10962.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">401</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">11282</span> Surveyed Emotional Responses to Musical Chord Progressions Imbued with Binaural Pulsations</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jachin%20Pousson">Jachin Pousson</a>, <a href="https://publications.waset.org/abstracts/search?q=Valdis%20Bernhofs"> Valdis Bernhofs</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Applications of the binaural sound experience are wide-ranged. This paper focuses on the interaction between binaural tones and human emotion with an aim to apply the resulting knowledge artistically. For the purpose of this study, binaural music is defined as musical arrangements of sound which are made of combinations of binaural difference tones. Here, the term ‘binaural difference tone’ refers to the pulsating tone heard within the brain which results from listening to slightly differing audio frequencies or pure pitches in each ear. The frequency or tempo of the pulsations is the sum of the precise difference between the frequencies two tones and is measured in beats per second. Polyrhythmic pulsations that can be heard within combinations of these differences tones have shown to be able to entrain or tune brainwave patterns to frequencies which have been linked to mental states which can be characterized by different levels of attention and mood. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=binaural%20auditory%20pulsations" title="binaural auditory pulsations">binaural auditory pulsations</a>, <a href="https://publications.waset.org/abstracts/search?q=brainwave%20entrainment" title=" brainwave entrainment"> brainwave entrainment</a>, <a href="https://publications.waset.org/abstracts/search?q=emotion" title=" emotion"> emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20composition" title=" music composition"> music composition</a> </p> <a href="https://publications.waset.org/abstracts/96053/surveyed-emotional-responses-to-musical-chord-progressions-imbued-with-binaural-pulsations" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96053.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">175</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">11281</span> Story of Alex: Sociology of Gender</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 significance of this study involves autoethnographic research about a music teacher learning about the socialization of gender issues in teaching. Mentorship involving intervention helps with the consequences influencing a transgendered music teacher. Basic storytelling methodology involves the qualitative method of research as a theoretical framework where the author provides a storied reflection about political issues surrounding teachers and the sociology of gender. Sub-themes involve counseling, adult education to ensure students and teachers receive social, emotional, physical, spiritual, and educational resources that evoke visceral, emotional responses from the audience. Major findings share how stories are helpful resources for others who struggle with the socialization of gender. It is hoped the research dramatizes an episodic yet incomplete story that highlights the circumstances surrounding the protagonist having his sex reassignment surgery during his undergraduate education degree. In conclusion, the research is a reflexive storied framework that embraces a positive outlook about a transgendered teacher during his masectomy. The sensory experience seeks verisimilitude by evoking lifelike and believable feelings from others. Thus, the scholarly importance of the sociology of gender and society provides transformative aspects that contributes to social change. Overall, the surgery surrounding the story about transgendered issues are not uncommon in society. Thus, continued education supports the moral mission to help teachers overcome and understand issues of gender that can socially impacts their professional lives as teachers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sociology%20of%20gender" title="sociology of gender">sociology of gender</a>, <a href="https://publications.waset.org/abstracts/search?q=transgender" title=" transgender"> transgender</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20teachers" title=" music teachers"> music teachers</a>, <a href="https://publications.waset.org/abstracts/search?q=story" title=" story"> story</a>, <a href="https://publications.waset.org/abstracts/search?q=autoethnography%20as%20research" title=" autoethnography as research"> autoethnography as research</a>, <a href="https://publications.waset.org/abstracts/search?q=ideology" title=" ideology"> ideology</a> </p> <a href="https://publications.waset.org/abstracts/46206/story-of-alex-sociology-of-gender" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/46206.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">11280</span> The Part of Dido in Purcell’s Opera ‘Dido and Aeneas’: Problems of Performing Baroque Opera</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Feng%20Ke">Feng Ke</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Henry Purcell's opera ‘Dido and Aeneas’ is still highly appreciated by music critics and occupies an important place in the repertoire of theaters around the world. Presented for the first time in 1689 by pupils of a boarding school in Chelsea, it turned out to be the only one of its kind not only in English but also in world opera music. Up-to-date data on the first productions of the opera are available in the Paxton article. The composer, for whom English masks served as examples of his first works in this genre, departed in ‘Dido’ from the so-called seven-opera with spoken dialogues and created a work that corresponded to his understanding of opera as ‘singing accompanied by an appropriate action’, ‘Dido and Aeneas’ differs from the Italian operas of that time in its chamber, stylistic rigor, it is full, on the one hand, of elegiac languor and subtle feelings, on the other – of genre ensemble and choral scenes saturated with lively energy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Henry%20Purcell" title="Henry Purcell">Henry Purcell</a>, <a href="https://publications.waset.org/abstracts/search?q=baroque%20opera" title=" baroque opera"> baroque opera</a>, <a href="https://publications.waset.org/abstracts/search?q=vocal%20part%20of%20the%20area" title=" vocal part of the area"> vocal part of the area</a>, <a href="https://publications.waset.org/abstracts/search?q=genuine%20virtuosity%20from%20the%20performer" title=" genuine virtuosity from the performer"> genuine virtuosity from the performer</a> </p> <a href="https://publications.waset.org/abstracts/184879/the-part-of-dido-in-purcells-opera-dido-and-aeneas-problems-of-performing-baroque-opera" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184879.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">54</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">11279</span> Live Concert Performances in Preschool: Requirements of a Successful Concert for Young Children</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mei-Ying%20Liao">Mei-Ying Liao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main purpose of this study was to examine the requirements of a successful concert for young children in preschool in Taiwan. This study reports a case study of a preschool’s experience which undertook ten concerts for young children. The main audiences were young children who were two to six years of age. The performers, including children’s family, amateurs and professional performers, were invited to perform music instruments or singing twice a week. The performers participated in these concerts separately, as a solo or ensemble performance. There were totally ten concerts. The structure of concert included the performance, musical activities, questions and answers, song requests, and exploration of instruments. Data collection included interviews with children, teachers and performers, concert observations, and footnotes. Results showed that the requirements of a successful and meaningful concert for young children were suggested to include concert preparation, concert, and post activities. The concert organizer, host and classroom teachers played vital roles for a successful concert. The organizer had to organize the programs and prepared for the concerts based on the needs and interests of their audience of young children, engage their attention and offer the potential to expand their musical worlds. The hosts had to build a bridge between performers and young children who had to know how they could delight and educate children. Concerts combined games, storytelling, instrument exploration and great music had great effects. Finally, the classroom teachers had to do the extension activities after the concerts so that the children will involve more and get more enthusiasm in concerts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=case%20study" title="case study">case study</a>, <a href="https://publications.waset.org/abstracts/search?q=concert" title=" concert"> concert</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=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/65524/live-concert-performances-in-preschool-requirements-of-a-successful-concert-for-young-children" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65524.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">346</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">11278</span> Supporting Regulation and Shared Attention to Facilitate the Foundations for Development of Children and Adolescents with Complex Individual Profiles</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Patsy%20Tan">Patsy Tan</a>, <a href="https://publications.waset.org/abstracts/search?q=Dana%20Baltutis"> Dana Baltutis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This presentation demonstrates the effectiveness of music therapy in co-treatment with speech pathology and occupational therapy as an innovative way when working with children and adolescents with complex individual differences to facilitate communication, emotional, motor and social skills development. Each child with special needs and their carer has an individual profile which encompasses their visual-spatial, auditory, language, learning, mental health, family dynamic, sensory-motor, motor planning and sequencing profiles. The most common issues among children with special needs, especially those diagnosed with Autism Spectrum Disorder, are in the areas of regulation, communication, and social-emotional development. The ability of children living with challenges to communicate and use language and understand verbal and non-verbal information, as well as move their bodies to explore and interact with their environments in social situations, depends on the children being regulated both internally and externally and trusting their communication partners and understanding what is happening in the moment. For carers, it is about understanding the tempo, rhythm, pacing, and timing of their own individual profile, as well as the profile of the child they are interacting with, and how these can sync together. In this study, music therapy is used in co-treatment sessions with a speech pathologist and/or an occupational therapist using the DIRFloortime approach to facilitate the regulation, attention, engagement, reciprocity and social-emotional capacities of children presenting with complex individual differences. Documented changes in 10 domains of children’s development over a 12-month period using the Individual Music Therapy Assessment Profile (IMTAP) were observed. Children were assessed biannually, and results show significant improvements in the social-emotional, musicality and receptive language domains indicating that co-treatment with a music therapist using the DIRFloortime framework is highly effective. This presentation will highlight strategies that facilitate regulation, social-emotional and communication development for children and adolescents with complex individual profiles. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communication" title="communication">communication</a>, <a href="https://publications.waset.org/abstracts/search?q=shared%20attention" title=" shared attention"> shared attention</a>, <a href="https://publications.waset.org/abstracts/search?q=regulation" title=" regulation"> regulation</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20emotional" title=" social emotional"> social emotional</a> </p> <a href="https://publications.waset.org/abstracts/86043/supporting-regulation-and-shared-attention-to-facilitate-the-foundations-for-development-of-children-and-adolescents-with-complex-individual-profiles" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/86043.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">256</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">11277</span> Field-Testing a Digital Music Notebook</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rena%20Upitis">Rena Upitis</a>, <a href="https://publications.waset.org/abstracts/search?q=Philip%20C.%20Abrami"> Philip C. Abrami</a>, <a href="https://publications.waset.org/abstracts/search?q=Karen%20Boese"> Karen Boese</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The success of one-on-one music study relies heavily on the ability of the teacher to provide sufficient direction to students during weekly lessons so that they can successfully practice from one lesson to the next. Traditionally, these instructions are given in a paper notebook, where the teacher makes notes for the students after describing a task or demonstrating a technique. The ability of students to make sense of these notes varies according to their understanding of the teacher’s directions, their motivation to practice, their memory of the lesson, and their abilities to self-regulate. At best, the notes enable the student to progress successfully. At worst, the student is left rudderless until the next lesson takes place. Digital notebooks have the potential to provide a more interactive and effective bridge between music lessons than traditional pen-and-paper notebooks. One such digital notebook, Cadenza, was designed to streamline and improve teachers’ instruction, to enhance student practicing, and to provide the means for teachers and students to communicate between lessons. For example, Cadenza contains a video annotator, where teachers can offer real-time guidance on uploaded student performances. Using the checklist feature, teachers and students negotiate the frequency and type of practice during the lesson, which the student can then access during subsequent practice sessions. Following the tenets of self-regulated learning, goal setting and reflection are also featured. Accordingly, the present paper addressed the following research questions: (1) How does the use of the Cadenza digital music notebook engage students and their teachers?, (2) Which features of Cadenza are most successful?, (3) Which features could be improved?, and (4) Is student learning and motivation enhanced with the use of the Cadenza digital music notebook? The paper describes the results 10 months of field-testing of Cadenza, structured around the four research questions outlined. Six teachers and 65 students took part in the study. Data were collected through video-recorded lesson observations, digital screen captures, surveys, and interviews. Standard qualitative protocols for coding results and identifying themes were employed to analyze the results. The results consistently indicated that teachers and students embraced the digital platform offered by Cadenza. The practice log and timer, the real-time annotation tool, the checklists, the lesson summaries, and the commenting features were found to be the most valuable functions, by students and teachers alike. Teachers also reported that students progressed more quickly with Cadenza, and received higher results in examinations than those students who were not using Cadenza. Teachers identified modifications to Cadenza that would make it an even more powerful way to support student learning. These modifications, once implemented, will move the tool well past its traditional notebook uses to new ways of motivating students to practise between lessons and to communicate with teachers about their learning. Improvements to the tool called for by the teachers included the ability to duplicate archived lessons, allowing for split screen viewing, and adding goal setting to the teacher window. In the concluding section, proposed modifications and their implications for self-regulated learning are discussed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20music%20technologies" title="digital music technologies">digital music technologies</a>, <a href="https://publications.waset.org/abstracts/search?q=electronic%20notebooks" title=" electronic notebooks"> electronic notebooks</a>, <a href="https://publications.waset.org/abstracts/search?q=self-regulated%20learning" title=" self-regulated learning"> self-regulated learning</a>, <a href="https://publications.waset.org/abstracts/search?q=studio%20music%20instruction" title=" studio music instruction "> studio music instruction </a> </p> <a href="https://publications.waset.org/abstracts/66895/field-testing-a-digital-music-notebook" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/66895.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">254</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">11276</span> The Interaction between Blood-Brain Barrier and the Cerebral Lymphatics Proposes Therapeutic Method for Alzheimer’S Disease </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20Klimova">M. Klimova</a>, <a href="https://publications.waset.org/abstracts/search?q=O.%20Semyachkina-Glushkovskaya"> O. Semyachkina-Glushkovskaya</a>, <a href="https://publications.waset.org/abstracts/search?q=J.%20Kurts"> J. Kurts</a>, <a href="https://publications.waset.org/abstracts/search?q=E.%20Zinchenko"> E. Zinchenko</a>, <a href="https://publications.waset.org/abstracts/search?q=N.%20Navolokin"> N. Navolokin</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Shirokov"> A. Shirokov</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Dubrovsky"> A. Dubrovsky</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Abdurashitov"> A. Abdurashitov</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Terskov"> A. Terskov</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Mamedova"> A. Mamedova</a>, <a href="https://publications.waset.org/abstracts/search?q=I.%20Agranovich"> I. Agranovich</a>, <a href="https://publications.waset.org/abstracts/search?q=T.%20Antonova"> T. Antonova</a>, <a href="https://publications.waset.org/abstracts/search?q=I.%20Blokhina"> I. Blokhina</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The direction for research of Alzheimer's disease is to find an effective non-invasive and non-pharmacological way of treatment. Here we tested our hypothesis that the opening of the blood-brain barrier (BBB) induces activation of lymphatic drainage and clearing functions that can be used as a method for non-invasive stimulation of clearance of beta-amyloid and therapy of Alzheimer’s disease (AD). To test our hypothesis, in this study on healthy male mice we analyzed the interaction between BBB opening by repeated loud music (100-10000 Hz, 100 dB, duration 2 h: 60 sec – sound; 60 sec - pause) and functional changes in the meningeal lymphatic vessels (MLVs). We demonstrate clearance of dextran 70 kDa (i.v. injection), fluorescent beta-amyloid (intrahippocampal injection) and gold nanorods (intracortical injection) via MLV that significantly increased after the opening of BBB. Our studies also demonstrate that the BBB opening was associated with the improvement of neurocognitive status in mice with AD. Thus, we uncover therapeutic effects of BBB opening by loud music, such as non-invasive stimulation of lymphatic clearance of beta-amyloid in mice with AD, accompanied by improvement of their neurocognitive status. Our data are consistent with other results suggesting the therapeutic effect of BBB opening by focused ultrasound without drugs for patients with AD. This research was supported by a grant from RSF 18-75-10033 <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alzheimer%27s%20disease" title="Alzheimer's disease">Alzheimer's disease</a>, <a href="https://publications.waset.org/abstracts/search?q=beta-amyloid" title=" beta-amyloid"> beta-amyloid</a>, <a href="https://publications.waset.org/abstracts/search?q=blood-brain%20barrier" title=" blood-brain barrier"> blood-brain barrier</a>, <a href="https://publications.waset.org/abstracts/search?q=meningeal%20lymphatic%20vessels" title=" meningeal lymphatic vessels"> meningeal lymphatic vessels</a>, <a href="https://publications.waset.org/abstracts/search?q=repeated%20loud%20music" title=" repeated loud music"> repeated loud music</a> </p> <a href="https://publications.waset.org/abstracts/122385/the-interaction-between-blood-brain-barrier-and-the-cerebral-lymphatics-proposes-therapeutic-method-for-alzheimers-disease" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/122385.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">142</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">11275</span> Discarding or Correcting Outlier Scores vs. Excluding Outlier Jurors to Reduce Manipulation in Classical Music Competitions.</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Krzysztof%20Kontek">Krzysztof Kontek</a>, <a href="https://publications.waset.org/abstracts/search?q=Kevin%20Kenner"> Kevin Kenner</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper, written by an economist and pianist, aims to compare and analyze different methods of reducing manipulation in classical music competitions by focusing on outlier scores and outlier jurors. We first examine existing methods in competition practice and statistical literature for discarding or correcting jurors' scores that deviate significantly from the mean or median of all scores. We then introduce a method that involves eliminating all scores of outlier jurors, i.e., those jurors whose ratings significantly differ from those of other jurors. The properties of these standard and proposed methods are discussed in hypothetical voting scenarios, where one or more jurors assign scores that deviate considerably from the scores awarded by other jurors. Finally, we present examples of applying various methods to real-world data from piano competitions, demonstrating the potential effectiveness and implications of each approach in reducing manipulation within these events. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=voting%20systems" title="voting systems">voting systems</a>, <a href="https://publications.waset.org/abstracts/search?q=manipulation" title=" manipulation"> manipulation</a>, <a href="https://publications.waset.org/abstracts/search?q=outlier%20scores" title=" outlier scores"> outlier scores</a>, <a href="https://publications.waset.org/abstracts/search?q=outlier%20jurors" title=" outlier jurors"> outlier jurors</a> </p> <a href="https://publications.waset.org/abstracts/165256/discarding-or-correcting-outlier-scores-vs-excluding-outlier-jurors-to-reduce-manipulation-in-classical-music-competitions" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/165256.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">84</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">11274</span> Life Stories of Adult Amateur Cellists That Inspire Them to Take Individual Lessons: A Narrative Inquiry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20Marais">A. Marais</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A challenging aspect of teaching cello to novice adult learners is finding adequate lesson material and applying relevant teaching methodologies. It could play a crucial role in adult learners' decision to commence or stop taking music lessons. This study contributes to the theory and practises of continuing education. This study is important to lifelong learning, especially with the focus on adult teaching and learning and the difficulties concerning these themes. The research problem identified for this study is we are not aware of adults' life stories; thus, cello lesson material is not always relevant for adult's specific needs for motivation and goals for starting cello lessons. In my experience, an adult does not necessarily want to play children songs when they learn a new instrument. They want material and lessons fitted to adult learners. Adults also learn differently from younger beginners. Adults ask questions such as how and why, while children more readily accept what is being taught. This research creates awareness of adults' musical needs and learning methods. If every adult shares their own story for commencing and continuing with cello lessons, material should be created, revised, or adapted for more individually appropriate lessons. A number of studies show that adults taking music lessons experience a decrease in feelings of loneliness and isolation. It gives adults a sense of wellbeing and can help improve immune systems. The purpose of this research study will be to discover the life stories of adult amateur cellists. At this stage in the research, the life stories of amateur cellists can generally be defined as personal reflections of their motivations for and experiences of commencing and continuing with individual lessons. The findings of this study will contribute to the development of cello lesson material for adult beginners based on their stories. This research could also encourage adults to commence with music lessons and could, in that way, contribute to their quality of life. Music learners become aware of deep spiritual, emotional, and social values incorporated or experienced through musical learning. This will be a qualitative study with a narrative approach making use of oral history. The chosen method will encapsulate the stories of amateur individual adults starting and continuing with cello lessons. The narrative method entails experiences as expressed in lived and told stories of individuals. Oral history is used as part of the narrative method and entails gathering of personal reflections of events and their cause and effects from an individual or several individuals. These findings from this study will contribute to adult amateur cellists' motivations to continue with music lessons and inspire others to commence. The inspiring life stories of the amateur cellists would provide insight into finding and creating new cello lesson material and enhance existing teaching methodologies for adult amateur cellists. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adult" title="adult">adult</a>, <a href="https://publications.waset.org/abstracts/search?q=amateur" title=" amateur"> amateur</a>, <a href="https://publications.waset.org/abstracts/search?q=cello" title=" cello"> cello</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=learning" title=" learning"> learning</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=stories" title=" stories"> stories</a> </p> <a href="https://publications.waset.org/abstracts/125042/life-stories-of-adult-amateur-cellists-that-inspire-them-to-take-individual-lessons-a-narrative-inquiry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/125042.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">134</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">11273</span> Experimental Study of Iron Metal Powder Compacting by Controlled Impact</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Todor%20N.%20Penchev">Todor N. Penchev</a>, <a href="https://publications.waset.org/abstracts/search?q=Dimitar%20N.%20Karastoianov"> Dimitar N. Karastoianov</a>, <a href="https://publications.waset.org/abstracts/search?q=Stanislav%20D.%20Gyoshev"> Stanislav D. Gyoshev</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For compacting of iron powder are used hydraulic presses and high velocity hammers. In this paper are presented initial research on application of an innovative powder compacting method, which uses a hammer working with controlled impact. The results show that by this method achieves the reduction of rebounds and improve efficiency of impact, compared with a high-speed compacting. Depending on the power of the engine (industrial rocket engine), this effect may be amplified to such an extent as to obtain a impact without rebound (sticking impact) and in long-time action of the impact force. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=powder%20metallurgy" title="powder metallurgy">powder metallurgy</a>, <a href="https://publications.waset.org/abstracts/search?q=impact" title=" impact"> impact</a>, <a href="https://publications.waset.org/abstracts/search?q=iron%20powder%20compacting" title=" iron powder compacting"> iron powder compacting</a>, <a href="https://publications.waset.org/abstracts/search?q=rocket%20engine" title=" rocket engine"> rocket engine</a> </p> <a href="https://publications.waset.org/abstracts/33204/experimental-study-of-iron-metal-powder-compacting-by-controlled-impact" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/33204.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">521</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">11272</span> Principles of Music Composition in Impressionism by Focusing on Claude Debussy and Maurice Ravel’s Piano Works</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The essence of Musical Impressionism is best captured in the compositions of Claude Debussy and Maurice Ravel. These two important individuals represent the core of this art form, with their piano compositions remaining significant, impactful, and commonly performed in contemporary times. Their piano works reflected a revolutionary compositional style that strayed from classical romanticism and drew heavy inspiration from Symbolist poets and Asian arts. Additionally, numerous technical applications are commonly utilized to exemplify the principles of impressionism style by composers who did not frequently use them in prior eras, resulting in effectively evoking impressionistic images through diverse sonorities. The goal of this study is to showcase the range of impressionistic elements and compositional techniques, such as dissonances, pentatonic and whole-tone scales, parallel movements, and polytonality, through an examination of their piano compositions. <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=impressionism" title=" impressionism"> impressionism</a>, <a href="https://publications.waset.org/abstracts/search?q=Debussy" title=" Debussy"> Debussy</a>, <a href="https://publications.waset.org/abstracts/search?q=ravel" title=" ravel"> ravel</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=composition" title=" composition"> composition</a> </p> <a href="https://publications.waset.org/abstracts/186693/principles-of-music-composition-in-impressionism-by-focusing-on-claude-debussy-and-maurice-ravels-piano-works" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186693.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">38</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">11271</span> Matter of the Artistic Content of Music (The Symphonies of Jovdat Hajiyev and the Creativity of Fikrat Amirov)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vusala%20Amirbayova%20Yusif">Vusala Amirbayova Yusif</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As we know the formation of new composer’s schools is determined not with the national belonging, but firstly with the development of the national spirit and eternal traditions. The formation of ancient musical traditions with the classical European genre and forms stand in the center of music art with Azerbaijani written tradition. Though this duty is actual for the neighboring eastern countries (for example, Iran, Turkey, Arabian countries, India), it has not been realized in the same level in real creative practice. It is necessary to mention that, the symphonic mughams formed from the joining of Eastern mugham-magam and classical music forms of Western symphony have been greeted with amazement and it was valuable practice in national composer’s art. It is true that, the new examples of the genre were formed in the next years (S.Alasgarov, T.Bakikhanov and etc.) and F.Amirov came back to the genre of symphonic mugham as he created Gulustani-Bayati-Shiraz”in,-1970. New tendency has begun to show itself in the development of national symphonic genre. The new attitude for mugham traditions showed itself in symphonic creative work of A.Malikov, A.Alizada, M.Guliyev,V.Adigozalov. The voice of mugham mentality has entered the depth of the Azerbaijan symphony, has determined the meditation spirit, dramatist process and content. This movement has formed the new notion of “mugham mphonism” with new meaning by our musicologists. In the modern musical science, in addition to traditional methods and procedures, the formation of new theories and approaches caused to the further increase of scientific interest towards the problem of artistic content in the art of composition. The initiative has been made to have overall look on this important subject as an example of the creativity of FikratAmirov (1922-1984)and JovdatHaciyev(1917-2000), the great composers of Azerbaijan and to analyze his some symphonic works from this point of view in the current report. In this connection, main provisions of the new theoretical concept that were comprehensively annotated in the article of Russian musicologist V. Kholopova named "Special and non-special musical content" were used. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=content" title="content">content</a>, <a href="https://publications.waset.org/abstracts/search?q=composer" title=" composer"> composer</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=mugham%20symphony" title=" mugham symphony"> mugham symphony</a> </p> <a href="https://publications.waset.org/abstracts/37280/matter-of-the-artistic-content-of-music-the-symphonies-of-jovdat-hajiyev-and-the-creativity-of-fikrat-amirov" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/37280.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">487</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">11270</span> Applying Art Integration on Teaching Quality Assurance for Early Childhood Art Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shih%20Meng-Chi">Shih Meng-Chi</a>, <a href="https://publications.waset.org/abstracts/search?q=Nai-Chia%20Chao"> Nai-Chia Chao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study constructed an arts integrative curriculum for early childhood educators and kindergarten teachers to the exciting possibilities of the use of the art integration method. The art integrative curriculum applied art integration that combines and integrates various elements of music, observation, sound, art, instruments, and creation. The program consists of college courses that combine the use of technology with children’s literature, multimedia, music, dance, and drama presentation. This educational program is being used in kindergartens during the pre-service kindergarten teacher training. The study found that arts integrated curriculum was benefit for connecting across domains, multi-sensory experiences, teaching skills, implementation and creation on children art education. The art Integrating instruction helped to provide students with an understanding of the whole framework and improve the teaching quality. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art%20integration" title="art integration">art integration</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching%20quality%20assurance" title=" teaching quality assurance"> teaching quality assurance</a>, <a href="https://publications.waset.org/abstracts/search?q=early%20childhood%20education" title=" early childhood education"> early childhood education</a>, <a href="https://publications.waset.org/abstracts/search?q=arts%20integrated%20curriculum" title=" arts integrated curriculum"> arts integrated curriculum</a> </p> <a href="https://publications.waset.org/abstracts/20606/applying-art-integration-on-teaching-quality-assurance-for-early-childhood-art-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20606.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">595</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">11269</span> Portrait of Musical Creativity or Indolence: A Critique of Unoka Character in Achebe’s Things Fall Apart</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ebim%20Matthew%20Abua">Ebim Matthew Abua</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Chinua Achebe’s Things Fall Apart (henceforth, TFA), the character Unoka is portrayed as a weakling and indolent person even when he was a creative artist, a talented musician, and a mathematician. His lack of achievement becomes the barometer for measuring his success. Right from time, music is considered to be of great significance because of its capacity to recreate and retell social events. To this end, music is both a social act and a creative art. As a social act, music is a discursive medium that exploits the dynamics of art in its evaluation of society. Music is so much a part of human existence that its presence in literature can help readers relate to fictional situations and characters. In this paper, the character Unoka is examined against the backdrop of his musical proclivities and his contributions to the overall development of TFA. Unfortunately, Achebe’s Things Fall Apart, a product of artistic creativity, portrays the personality of Unoka as lazy and uninspiring because he (Unoka) is a musician who is busy playing his flute and hardly doing anything productive. This paper is significant because it examines the literary and or linguistic depiction of Unoka and the aftermath of that depiction on the entire novel and, by extension, the larger society. Methodologically, this paper adopted the qualitative approach from the ethnography of communication (EOC), which is the analysis of communication within the wider context of the social and cultural practices and beliefs of the members of a particular culture or speech community. The aim of this qualitative research method includes the ability to discern which communication acts and/or codes are important to different groups, what types of meanings groups apply to different communication events, and how group members learn these codes to provide insight into particular communities. The study reveals that the people of Umuofia were mono-directional in their economy, and there was no room for diversification. One was either a farmer, or such a person was relegated to the background. Unoka, taking up a new challenge of diversifying the economy from the perspective of entertainment, was viewed as a misnomer. This study opens the door to other areas of studying Achebe’s epic novel apart from the critical works of literary artists that have been dished out over time. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=literature" title="literature">literature</a>, <a href="https://publications.waset.org/abstracts/search?q=popular%20culture" title=" popular culture"> popular culture</a>, <a href="https://publications.waset.org/abstracts/search?q=unoka" title=" unoka"> unoka</a>, <a href="https://publications.waset.org/abstracts/search?q=things%20fall%20apart" title=" things fall apart"> things fall apart</a> </p> <a href="https://publications.waset.org/abstracts/179410/portrait-of-musical-creativity-or-indolence-a-critique-of-unoka-character-in-achebes-things-fall-apart" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/179410.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">59</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11268</span> Technical Realization of Key Aesthetic Principles in Guzheng Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qiongzi%20Zheng">Qiongzi Zheng</a>, <a href="https://publications.waset.org/abstracts/search?q=Lewis%20Cornwell"> Lewis Cornwell</a>, <a href="https://publications.waset.org/abstracts/search?q=Neal%20Peres%20Da%20Costa"> Neal Peres Da Costa</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Drawn on Confucian and Taoist philosophy and long-established tradition of aesthetic ideals, the Art of the Chinese Zither (Xishan Qinkuang), a classic work by Chinese music scholar Xu Shangyin in 1643, distilled twenty-four practicing principles for the Chinese zither. This work has influenced the practice of guzheng to the present day. Whilst the principles were described in detail, how they can actually be achieved on a technical level remains to be explored. This study focuses on three key practicing principles: yuan (roundness), liu (fluidness), and su (swiftness), and examines how the playing techniques developed by Master Zhao Manqin contribute to the implementation of the principles. The study concludes that knowledge of the technicality of fingering positioning before and after plucking motion is critical to the realization of these principles. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20music%20aesthetics" title="Chinese music aesthetics">Chinese music aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=practicing%20principles%20of%20the%20Chinese%20zither" title=" practicing principles of the Chinese zither"> practicing principles of the Chinese zither</a>, <a href="https://publications.waset.org/abstracts/search?q=guzheng%20playing%20techniques" title=" guzheng playing techniques"> guzheng playing techniques</a>, <a href="https://publications.waset.org/abstracts/search?q=Zhao%20Manqin%E2%80%99s%20fingering%20techniques" title=" Zhao Manqin’s fingering techniques"> Zhao Manqin’s fingering techniques</a>, <a href="https://publications.waset.org/abstracts/search?q=Xishan%20Qinkuang" title=" Xishan Qinkuang"> Xishan Qinkuang</a> </p> <a href="https://publications.waset.org/abstracts/164771/technical-realization-of-key-aesthetic-principles-in-guzheng-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/164771.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">185</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">11267</span> The Influence of Music Education and the Order of Sounds on the Grouping of Sounds into Sequences of Six Tones</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Adam%20Rosi%C5%84ski">Adam Rosiński</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper discusses an experiment conducted with two groups of participants, composed of musicians and non-musicians, in order to investigate the impact of the speed of a sound sequence and the order of sounds on the grouping of sounds into sequences of six tones. Significant differences were observed between musicians and non-musicians with respect to the threshold sequence speed at which the sequence was split into two streams. The differences in the results for the two groups suggest that the musical education of the participating listeners may be a vital factor. The criterion of musical education should be taken into account during experiments so that the results obtained are reliable, uniform, and free from interpretive errors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=auditory%20scene%20analysis" title="auditory scene analysis">auditory scene analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=hearing" title=" hearing"> hearing</a>, <a href="https://publications.waset.org/abstracts/search?q=psychoacoustics" title=" psychoacoustics"> psychoacoustics</a> </p> <a href="https://publications.waset.org/abstracts/158683/the-influence-of-music-education-and-the-order-of-sounds-on-the-grouping-of-sounds-into-sequences-of-six-tones" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/158683.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">102</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">11266</span> Dirty Martini vs Martini: The Contrasting Duality Between Big Bang and BTS Public Image and Their Latest MVs Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Portugal%20Marques%20de%20Carvalho%20Lourenco">Patricia Portugal Marques de Carvalho Lourenco</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Big Bang is like a dirty martini embroiled in a stew of personal individual scandals that have rocked the group’s image and perception, from G-Dragon’s and T.O.P. marijuana episodes in 2011 and 2016, respectively, to Daesung’s building illicit entertainment activities in 2018to the Burning Sun shebang that led to the Titanic sink of Big Bang’s youngest member Seungri in 2019 and the positive sentiment migration to the antithetical side. BTS, on the other hand, are like a martini, clear, clean, attracting as many crowds to their performances and online content as the Pope attracts believers to Sunday Mass in the Vatican, as exemplified by their latest MVs. Big Bang’s 2022 Still Life achieved 16.4 million views on Youtube in 24hours, whilst BTS Permission to Dance achieved 68.5 million in the same period of time. The difference is significant when added Big Bang’s and BTS overall award wins, a total of 117 in contrast to 460. Both groups are uniquely talented and exceptional performers that have been contributing greatly to the dissemination of Korean Pop Music on a global scale in their own inimitable ways. Both are exceptional in their own right and while the artists cannot, ought not, should not be compared for the grave injustice made in comparing one individual planet with one solar system, a contrast is merited and hence done. The reality, nonetheless, is about disengagement from a group that lives life humanly, learning and evolving with each challenge and mistake without a clean, perfect tag attached to it, demonstrating not only an inability to disassociate the person from the artist and the music but also an inability to understand the difference between a private and public life. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=K-Pop" title="K-Pop">K-Pop</a>, <a href="https://publications.waset.org/abstracts/search?q=big%20bang" title=" big bang"> big bang</a>, <a href="https://publications.waset.org/abstracts/search?q=BTS" title=" BTS"> BTS</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20image" title=" public image"> public image</a>, <a href="https://publications.waset.org/abstracts/search?q=entertainment" title=" entertainment"> entertainment</a>, <a href="https://publications.waset.org/abstracts/search?q=korean%20entertainment" title=" korean entertainment"> korean entertainment</a> </p> <a href="https://publications.waset.org/abstracts/149653/dirty-martini-vs-martini-the-contrasting-duality-between-big-bang-and-bts-public-image-and-their-latest-mvs-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149653.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">98</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">11265</span> The Study of the Determinants of Impulse Buying in Algeria </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amina%20Merabet">Amina Merabet</a>, <a href="https://publications.waset.org/abstracts/search?q=Ali%20Iznasni"> Ali Iznasni</a>, <a href="https://publications.waset.org/abstracts/search?q=Abderrezzak%20Benhabib"> Abderrezzak Benhabib</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Impulse buying is of strategic importance to distributors. Currently, distribution companies rely heavily on contextual variables (music, smells, colors, sound, design ...) in order to push customers towards purchase and consumption. As such, a crucial way for commercial brands to increase sales is to stimulate impulse buying. For this reason, this study aims at identifying the factors that initiate and encourage impulse buying, as well as the levers that help distributors highlight effective marketing techniques in order to encourage consumers to make impulse purchase. Thus, we try to show, upon a field survey of 590 buyers, the impact of situational elements of both the store and the product on achieving impulse buying. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Algerian%20shoppers" title="Algerian shoppers">Algerian shoppers</a>, <a href="https://publications.waset.org/abstracts/search?q=impulse%20buying" title=" impulse buying"> impulse buying</a>, <a href="https://publications.waset.org/abstracts/search?q=shopping%20environment" title=" shopping environment"> shopping environment</a>, <a href="https://publications.waset.org/abstracts/search?q=situational%20variables" title=" situational variables"> situational variables</a>, <a href="https://publications.waset.org/abstracts/search?q=product" title=" product"> product</a> </p> <a href="https://publications.waset.org/abstracts/27654/the-study-of-the-determinants-of-impulse-buying-in-algeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/27654.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">351</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">11264</span> Self-Efficacy Perceptions of Pre-Service Art and Music Teachers towards the Use of Information and Communication Technologies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Agah%20Tugrul%20Korucu">Agah Tugrul Korucu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Information and communication technologies have become an important part of our daily lives with significant investments in technology in the 21st century. Individuals are more willing to design and implement computer-related activities, and they are the main component of computer self-efficacy and self-efficacy related to the fact that the increase in information technology, with operations in parallel with these activities more successful. The Self-efficacy level is a significant factor which determines how individuals act in events, situations and difficult processes. It is observed that individuals with higher self-efficacy perception of computers who encounter problems related to computer use overcome them more easily. Therefore, this study aimed to examine self-efficacy perceptions of pre-service art and music teachers towards the use of information and communication technologies in terms of different variables. Research group consists of 60 pre-service teachers who are studying at Necmettin Erbakan University Ahmet Keleşoğlu Faculty of Education Art and Music department. As data collection tool of the study; “personal information form” developed by the researcher and used to collect demographic data and "the perception scale related to self-efficacy of informational technology" are used. The scale is 5-point Likert-type scale. It consists of 27 items. The Kaiser-Meyer-Olkin (KMO) sample compliance value is found 0.959. The Cronbach alpha reliability coefficient of the scale is found to be 0.97. computer-based statistical software package (SPSS 21.0) is used in order to analyze the data collected by data collection tools; descriptive statistics, t-test, analysis of variance are used as statistical techniques. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=self-efficacy%20perceptions" title="self-efficacy perceptions">self-efficacy perceptions</a>, <a href="https://publications.waset.org/abstracts/search?q=teacher%20candidate" title=" teacher candidate"> teacher candidate</a>, <a href="https://publications.waset.org/abstracts/search?q=information%20and%20communication%20technologies" title=" information and communication technologies"> information and communication technologies</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20teacher" title=" art teacher"> art teacher</a> </p> <a href="https://publications.waset.org/abstracts/44984/self-efficacy-perceptions-of-pre-service-art-and-music-teachers-towards-the-use-of-information-and-communication-technologies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/44984.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">326</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">11263</span> Main Puteri Traditional Malay Healing Ceremony</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20G.%20Nasuruddin">M. G. Nasuruddin</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20Ishak"> S. Ishak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper deals with the traditional Malay healing ritualistic ceremony known as Main Puteri. This non-invasive intervention uses the vehicle of performance to administer the healing process. It employs the performance elements of Makyung, that is, music, movements/dance, and dramatic dialogue to heal psychosomatic maladies. There are two perspectives to this therapeutic healing process, one traditional and the other scientific. From the traditional perspective, the psychosomatic illness is attributed to the infestations/possessions by malevolent spirits. To heal such patients, these spirits must be exorcised through placating them by making offerings. From the scientific perspective, the music (sonic orders), movements (kinetic energy), and smell (olfactory) connect with the brain waves to release the chemicals that would activate the internal healing energy. Currently, in Main Puteri, the therapeutic healing ritual is no longer relevant as modern clinical medicine has proven to be more effective. Thus, Main Puteri is an anachronism in today’s technologically advanced Malaysia. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=exorcism" title="exorcism">exorcism</a>, <a href="https://publications.waset.org/abstracts/search?q=main%20puteri" title=" main puteri"> main puteri</a>, <a href="https://publications.waset.org/abstracts/search?q=shamans" title=" shamans"> shamans</a>, <a href="https://publications.waset.org/abstracts/search?q=therapeutic%20healing" title=" therapeutic healing"> therapeutic healing</a> </p> <a href="https://publications.waset.org/abstracts/3358/main-puteri-traditional-malay-healing-ceremony" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/3358.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">355</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">11262</span> Archaic Ontologies Nowadays: Music of Rituals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lumini%C5%A3a%20Du%C5%A3ic%C4%83">Luminiţa Duţică</a>, <a href="https://publications.waset.org/abstracts/search?q=Gheorghe%20Du%C5%A3ic%C4%83"> Gheorghe Duţică</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Many of the interrogations or dilemmas of the contemporary world found the answer in what was generically called the <em>appeal to matrix</em>. This genuine spiritual exercise of re-connection of the present to origins, to the primary source, revealed the ontological condition of timelessness, ahistorical, immutable (epi)phenomena, of those pure essences concentrated in the archetypal-referential layer of the human existence. The musical creation was no exception to this trend, the impasse generated by the deterministic excesses of the whole serialism or, conversely, by some questionable results of the extreme indeterminism proper to the avant-garde movements, stimulating the orientation of many composers to rediscover a universal grammar, as an emanation of a new ‘collective’ order (reverse of the utopian individualism). In this context, the music of oral tradition and therefore the world of the ancient modes represented a true revelation for the composers of the twentieth century, who were suddenly in front of some unsuspected (re)sources, with a major impact on all levels of edification of the musical work: morphology, syntax, timbrality, semantics etc. For the contemporary Romanian creators, the music of rituals, existing in the local archaic culture, opened unsuspected perspectives for which it meant to be a synthetic, inclusive and recoverer vision, where the primary (archetypal) genuine elements merge with the latest achievements of language of the European composers. Thus, anchored in a strong and genuine modal source, the compositions analysed in this paper evoke, in a manner as modern as possible, the atmosphere of some ancestral rituals such as: the invocation of rain during the drought (<em>Paparudele</em>, <em>Scaloianul</em>), funeral ceremony (<em>Bocetul</em>), traditions specific to the winter holidays and new year (<em>Colinda</em>, <em>Cântecul de stea</em>,<em> Sorcova</em>, <em>Folklore traditional dances</em>) etc. The reactivity of those rituals in the sound context of the twentieth century meant potentiating or resizing the archaic spirit of the primordial symbolic entities, in terms of some complexity levels generated by the technique of harmonies of chordal layers, of complex aggregates (gravitational or non-gravitational, geometric), of the mixture polyphonies and with global effect (group, mass), by the technique of heterophony, of texture and <em>cluster</em>, leading to the implementation of some processes of collective improvisation and instrumental theatre. <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=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=polyphony" title=" polyphony"> polyphony</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=instrumental%20theatre" title=" instrumental theatre"> instrumental theatre</a> </p> <a href="https://publications.waset.org/abstracts/45437/archaic-ontologies-nowadays-music-of-rituals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/45437.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">305</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">11261</span> Improved Pitch Detection Using Fourier Approximation Method</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Balachandra%20Kumaraswamy">Balachandra Kumaraswamy</a>, <a href="https://publications.waset.org/abstracts/search?q=P.%20G.%20Poonacha"> P. G. Poonacha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Automatic Music Information Retrieval has been one of the challenging topics of research for a few decades now with several interesting approaches reported in the literature. In this paper we have developed a pitch extraction method based on a finite Fourier series approximation to the given window of samples. We then estimate pitch as the fundamental period of the finite Fourier series approximation to the given window of samples. This method uses analysis of the strength of harmonics present in the signal to reduce octave as well as harmonic errors. The performance of our method is compared with three best known methods for pitch extraction, namely, Yin, Windowed Special Normalization of the Auto-Correlation Function and Harmonic Product Spectrum methods of pitch extraction. Our study with artificially created signals as well as music files show that Fourier Approximation method gives much better estimate of pitch with less octave and harmonic errors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=pitch" title="pitch">pitch</a>, <a href="https://publications.waset.org/abstracts/search?q=fourier%20series" title=" fourier series"> fourier series</a>, <a href="https://publications.waset.org/abstracts/search?q=yin" title=" yin"> yin</a>, <a href="https://publications.waset.org/abstracts/search?q=normalization%20of%20the%20auto-%20correlation%20function" title=" normalization of the auto- correlation function"> normalization of the auto- correlation function</a>, <a href="https://publications.waset.org/abstracts/search?q=harmonic%20product" title=" harmonic product"> harmonic product</a>, <a href="https://publications.waset.org/abstracts/search?q=mean%20square%20error" title=" mean square error"> mean square error</a> </p> <a href="https://publications.waset.org/abstracts/36472/improved-pitch-detection-using-fourier-approximation-method" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36472.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">412</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">11260</span> The Audiovisual Media as a Metacritical Ludicity Gesture in the Musical-Performatic and Scenic Works of Caetano Veloso and David Bowie</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Paulo%20Da%20Silva%20Quadros">Paulo Da Silva Quadros</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This work aims to point out comparative parameters between the artistic production of two exponents of the contemporary popular culture scene: Caetano Veloso (Brazil) and David Bowie (England). Both Caetano Veloso and David Bowie were pioneers in establishing an aesthetic game between various artistic expressions at the service of the music-visual scene, that is, the conceptual interconnections between several forms of aesthetic processes, such as fine arts, theatre, cinema, poetry, and literature. There are also correlations in their expressive attitudes of art, especially regarding the dialogue between the fields of art and politics (concern with respect to human rights, human dignity, racial issues, tolerance, gender issues, and sexuality, among others); the constant tension and cunning game between market, free expression and critical sense; the sophisticated, playful mechanisms of metalanguage and aesthetic metacritique. Fact is that both of them almost came to cooperate with each other in the 1970s when Caetano was in exile in England, and when both had at the same time the same music producer, who tried to bring them closer, noticing similar aesthetic qualities in both artistic works, which was later glimpsed by some music critics. Among many of the most influential issues in Caetano's and Bowie's game of artistic-aesthetic expression are, for example, the ideas advocated by the sensation of strangeness (Albert Camus), art as transcendence (Friedrich Nietzsche), the deconstruction and reconstruction of auratic reconfiguration of artistic signs (Walter Benjamin and Andy Warhol). For deepen more theoretical issues, the following authors will be used as supportive interpretative references: Hans-Georg Gadamer, Immanuel Kant, Friedrich Schiller, Johan Huizinga. In addition to the aesthetic meanings of Ars Ludens characteristics of the two artists, the following supporting references will be also added: the question of technique (Martin Heidegger), the logic of sense (Gilles Deleuze), art as an event and the sense of the gesture of art ( Maria Teresa Cruz), the society of spectacle (Guy Debord), Verarbeitung and Durcharbeitung (Sigmund Freud), the poetics of interpretation and the sign of relation (Cremilda Medina). The purpose of such interpretative references is to seek to understand, from a cultural reading perspective (cultural semiology), some significant elements in the dynamics of aesthetic and media interconnections of both artists, which made them as some of the most influential interlocutors in contemporary music aesthetic thought, as a playful vivid experience of life and art. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Caetano%20Veloso" title="Caetano Veloso">Caetano Veloso</a>, <a href="https://publications.waset.org/abstracts/search?q=David%20Bowie" title=" David Bowie"> David Bowie</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20aesthetics" title=" music aesthetics"> music aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=symbolic%20playfulness" title=" symbolic playfulness"> symbolic playfulness</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20reading" title=" cultural reading"> cultural reading</a> </p> <a href="https://publications.waset.org/abstracts/120266/the-audiovisual-media-as-a-metacritical-ludicity-gesture-in-the-musical-performatic-and-scenic-works-of-caetano-veloso-and-david-bowie" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/120266.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">11259</span> Organizational Performance and Impact of Social Innovation </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alfonso%20Unceta">Alfonso Unceta</a>, <a href="https://publications.waset.org/abstracts/search?q=Javier%20Castro-Spila"> Javier Castro-Spila </a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper offers a conceptual and empirical exploration between the organizational performance and the impact of social innovation. The paper contributes on the social innovation field in three domains: a) It provides analytical and empirical evidence linking organizational performance to the impact of social innovation; b) it provides a first outline of impact assessment of social innovation when it is developed by a diversity of heterogeneous actors (systemic social innovation); c) it provides a first outline for the development of innovation policies to support social innovations according to a typology of organizations and a typology of impact. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=absorptive%20capacity" title="absorptive capacity">absorptive capacity</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20innovation%20impact" title=" social innovation impact"> social innovation impact</a>, <a href="https://publications.waset.org/abstracts/search?q=organizational%20performance" title=" organizational performance"> organizational performance</a>, <a href="https://publications.waset.org/abstracts/search?q=RESINDEX" title=" RESINDEX"> RESINDEX</a>, <a href="https://publications.waset.org/abstracts/search?q=Basque%20Country" title=" Basque Country"> Basque Country</a> </p> <a href="https://publications.waset.org/abstracts/31783/organizational-performance-and-impact-of-social-innovation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/31783.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">486</span> </span> </div> </div> <ul class="pagination"> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=impact%20of%20music&page=9" rel="prev">&lsaquo;</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=impact%20of%20music&page=1">1</a></li> <li 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