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Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Registration in singing has long been considered to have its basis in adjustments of the intrinsic laryngeal musculature, but most pedagogues also agree that there is an acoustic or resonance component to the production or perception of vocal registers. Shifts in thinking about register adjustment may have led some pedagogues to concentrate on resonance adjustments to produce a particular quality, sometimes without adequate attention to balanced muscle use. This article provides some context for pedagogic consideration of pitch/register adjustment and examples of what can happen if muscular balance is not optimized in singing training for all genres. [ABSTRACT FROM AUTHOR]

In this research we have developed devices for hearing impaired people that can transmit the emotions evoked by music. In this way, we will all achieve the full inclusion of impairment people in all social activities. As this is an issue that goes beyond pure engineering research, it has been necessary to create a multidisciplinary group within the Spanish Centre for Captioning and Audio Description (CESyA), in direct collaboration with the Display and Photonic Applications Research Group (GDAF) and the Human Language and Accessibility Technologies Group (HULAT) of the Carlos III University (UC3M) and the Psychiatry and Applied Communication Departments of the Complutense University of Madrid. For this research, a pair of haptic gloves were developed, which transmit different characteristics extracted from music by means of vibrational sequences, intended to drive an emotional reinforcement. Another device, a "music box", a vibration box, was also developed from the idea of using vibration as an instrument. Overall, the acceptance of the glove was positive, with an 80% of users accepting the negative video, repeatedly stating in the surveys that they "felt more when the glove vibrated". The music box was also well received. Volunteers felt that the system gave them a pleasant sensation and that they could feel the music. However, some participants associated the vibration with the sensation of an alarm clock, which was expectedly negative. Considering the obtained EEG results, we can conclude that the integration of simple multimodal stimuli, visual and vibrotactile, helps to enhance the activation of emotional processes linked with musical stimulation. It can also be concluded that multimodal visual and vibrotactile stimulation enhances both attentional and emotional processes. These results pave the way for future developments that will allow a hearing-impaired person to fully enjoy an audiovisual event, which will have a great impact on this group. [ABSTRACT FROM AUTHOR]

This mixed-methods study focused on cross-modal change in perception of paintings, by coupling them with related musical pieces. 120 participants were assessed using an online form, distributed via social media. They were asked to choose one of three realistic or abstract paintings, evaluate their perceptual characteristics on five semantic differential rating scales and answer three questions. The participants were then given a choice of three musical pieces (pre-selected to suit each painting) to match their chosen painting. Our findings revealed a significant change in three of the five scales. Moreover, for 93 of the 120 participants, the experience of looking at a painting while listening allowed projection of newly found perception or properties associated with music (dynamism through time, mobility, and the evocation of self-expression) onto the painting. These data suggest that as observers combine stylistically-fitting music with a painting, they find new meaning and value, thereby enhancing their experience. [ABSTRACT FROM AUTHOR]

The article focuses on the coordination of articulator movements in the motor cortex. Topics include the complex motor behavior of singing, precise control and timing required for sound production, the role of the sensorimotor cortex in pitch processing and motor control, and the influence of language on articulator positioning.

Music has the ability to invest even the tritest scenes with so much meaning when added to them. Human perceptions of music and image can be closely related to each other, as both can incite similar sensations and emotions. Advertising agencies often make use of audio and music over their visuals to engage more audiences and to convey the emotions associated with their content more effectively. Matching visuals and music to comparable feelings might help people perceive emotions more vividly and strongly. This paper proposes an effective cross-modal neural network that provides music recommendations to a user by generating matches between images and music over a common emotional vector space. Using the valence and arousal values, a combined image-music pair dataset has been created. The images incorporated in this dataset are leveraged from the OASIS dataset while the music part is queried using Spotify API and YouTube. A Transfer Learning approach is proposed with Convolution Neural Network architecture for training on this dataset using MobileNetV3, ResNet-18 and EfficientNetB4 for the images and SampleCNN for the raw audio clips. For any given image input, a list of top-n music recommendations shall be outputted. This concept thus aims to generate music and image matching based on various deep hidden features over the emotion space of the two modalities. [ABSTRACT FROM AUTHOR]

At another moment, Wilson links subjective experience and art, juxtaposing the realist theory of art 'which accounts for (aesthetic) experience, subjectivity and the relation between imagination and perception' and the realist theory of science (192). Rather, it is because I take as my starting point the idea that our current approaches to art and the arts, and our cultures that sustain these, are characterised by a TINA compromise form: where the truth in practice - that art is (only) what artists do in the arts, is combined with the falsity in theory - that art is (only) what artists do in the arts. To the extent that my argument enables art to be liberated from the culturally limiting contexts of "aesthetics" or "sciences", I would say I am for aesthetics (and art) in science, just as I am for science in the arts. The "bold" and "ambitious" claim of my realist theory of art is just this - in all instances of art, not just those where the designation "art" is conferred by representatives of "the arts" or the "artworld", art is caring about experience. This is all very reasonable until art is connected back to Wilson's particular view of the aesthetic: 'I have defined aesthetic experience as our emergent experience of being-in-relation with the natural necessity of the world ... and art as the skilled practice of giving shareable form to our aesthetic experience' (192). [Extracted from the article]

Copyright of Revista Electrónica de LEEME is the property of Institut de Creativitat i Innovacions Educatives and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work intends to help students perceive music, study music, create music, and realize the "human-computer interaction" music teaching mode. A distributed design pattern is adopted to design a gesture interactive robot suitable for music education. First, the client is designed. The client gesture acquisition module employs a dual-channel convolutional neural network (DCCNN) for gesture recognition. The convolutional layer of the constructed DCCNN contains convolution kernels with two sizes. which operate on the image. Second, the server is designed, which recognizes the collected gesture instruction data through two-stream convolutional neural network (CNN). This network cuts the gesture instruction data into K segments, and sparsely samples each segment into a short sequence, The optical Ilow algorithm is employed to extract the optical tlow features of each short sequence. Finally, the performance of the robot is tested. The results show that the combination of convolution kernels with sizes of 5>< 5 and 7,<7 has a recognition accuracy off)8%, suggesting that DCCNN can effectively collect gesture command data. After training, DCCNN's gesture recognition accuracy rate reaches 90%, which is higher than mainstream dynamic gesture recognition algorithms under the same conditions. In addition, the recognition accuracy of the gesture interactive robot is above 90%, suggesting that this robot can meet normal requirements and has good reliability and stability. It is also recommended to be utilized in music perception teaching to provide a basis for establishing a multi-sensory music teaching model. [ABSTRACT FROM AUTHOR]

An experiment aimed at developing creative thinking and emotional literacy in adolescents was carried out. The study involved 25 adolescents aged 14–16 years and their parents—37 people (37–45 years old). Based on the use of the NanoStudio application, a creative improvisation training session was conducted among adolescents in the context of educational cases. The methodology for the development of creative skill turned out to be interesting, exciting, and effective; collaboration with children, according to parents, created an atmosphere of community and promoted an active and passionate desire for joint creative actions. The results of the survey of adolescents demonstrated a positive attitude to the implementation of creative practices which was accompanied by interest, enthusiasm, joy, trust, admiration, delight, and optimism. Since adolescence is a period of increased emotionality, which is characterized by risky behavior associated with the formation of new views, values, and interests, the need of young people for psychological adaptation, the practical value of the study lies in demonstrating the practical experience of transforming the emotional experiences of adolescents into a creative musical product, as an alternative behavior, in terms of interaction of personal, parental, and pedagogical contexts. [ABSTRACT FROM AUTHOR]

The article expand the Ingo's register treadmill to include a wider pitch range and sex differences in formant frequencies. It mentions that each sequence begins with a wide mouth shape and ends with a narrow mouth shape, wherein formant frequencies for females have been chosen to be 20 percent higher than for males.

Composing music is an inspired yet challenging task, in that the process involves many considerations such as assigning pitches, determining rhythm, and arranging accompaniment. Algorithmic composition aims to develop algorithms for music composition. Recently, algorithmic composition using artificial intelligence technologies received considerable attention. In particular, computational intelligence is widely used and achieves promising results in the creation of music. This paper attempts to provide a survey on the music generation based on the Monte Carlo (MC) algorithm. First, transform the MIDI music format files to digital data. Among these data, use the logistic fitting method to fit the time series, obtain the time distribution regular pattern. Except for time series, the converted data also includes duration, pitch, and velocity. Second, using MC simulation to deal with them summed up their distribution law respectively. The two main control parameters are the value of discrete sampling and standard deviation. Processing the above parameters and converting the data to MIDI file, then compared with the output generated by LSTM neural network, evaluate the music comprehensively. [ABSTRACT FROM AUTHOR]

Copyright of Revista Electrónica de LEEME is the property of Institut de Creativitat i Innovacions Educatives and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract: Imagery can be described as experience that mimics real world experiences through the combination of using different sensory modalities in the absence of actual perceptions (43). One uses visual, auditory, kinesthetic (touch), smell, and taste to create a picture simulating real world environments and scenarios. Imagery can be used to enhance various aspects of performance by mentally preparing someone for an upcoming competition or helping an athlete focus specifically on a task (19). Virtual reality, understood in this study as a first-person filmed, computer presented, immersive simulation of a real environment (32), has become increasingly more utilized in sport performance settings (7, 37, 44). Combing these two elements, the purpose of this study was to investigate an applied Imagery Assisted Virtual Reality (IAVR) intervention on imagery ability and pitch recognition in a sample of eleven National Collegiate Athletic Association (NCAA) Division One softball players at a Midwestern University. This study's results indicated a significant increase in global imagery ability as well as in four of the five functions of imagery (CS, CG, MG-A, MG-A) and in pitch type recognition. Practically, the results from this study suggest that the IAVR intervention can create an impactful experience to assist athletes in improving their performance and psychological skills. [ABSTRACT FROM AUTHOR]

• The objective of our study was to compare the response of autonomic system parameters (blood pressure, ECG, heart rate variability) in healthy subjects while listening to Indian classical music of different fractal qualities. • To quantify the complexity of a musical phrase we have used the Higuchi fractal dimension. • Indian classical music has the unique quality of slow transition betwen notes, with consequent changes in dimensions of the string being played, which we have quantified in the study. • 25 healthy volunteers were recruited, all between 18 and 35 years of age. The subjects were randomised into three groups: sinewave, low fractal music and high fractal music. • Electrocardiogram (ECG) and Non invasive BP (NIBP) leads were placed and continuous measurements started 10 min prior to intervention. At 0 min, the standardised musical intervention/ control was played. • During intervention, the fractal dimension of the BP waveform showed a significant difference between subjects of high fractal group and low fractal group. The Hurst exponent and sample entropy of the waveform was also measured. • In addition, the increment in heart rate variability during intervention showed an increasing trend from high to low fractal to sinewave. • Whether the changes are due to direct contact with source of music or through a cerebral mechanism can be ascertained by further studies. Music is an external stimulus that affects physiological systems; both the quality of music and the resultant physiological changes can be quantified, which presents an unique opportunity. To quantify the complexity of a musical phrase we have used the Higuchi fractal dimension. We then compared the response of autonomic system (blood pressure, ECG, heart rate variability) in healthy subjects while listening to Indian classical music of different fractal qualities. Indian classical music has the unique quality of slow transition between notes, with consequent changes in dimensions of the string being played, which we have quantified. 25 healthy volunteers were recruited, all 18–35 years of age; the subjects were randomised into three groups: sinewave, low fractal and high fractal, depending on the type of musical intervention. The subjects were placed in a quiet room and asked to perform deep breathing exercises for relaxation. Electrocardiogram (ECG) and Non invasive BP (NIBP) leads were placed and continuous measurements started 10 min prior to intervention. At 0 min, the standardised musical intervention/ control was played. During intervention, the fractal dimension of the BP waveform showed a significant difference between subjects of high fractal group and low fractal group. In addition, the increment in heart rate variability (measured by standard parameters) during intervention showed an increasing trend from high to low fractal to sinewave. Whether the changes are due to direct contact with source of music or through a cerebral mechanism can be ascertained by further studies. [ABSTRACT FROM AUTHOR]

A stacked recurrent neural network (sRNN) with gated recurrent units (GRUs) and jointly optimized soft time-frequency mask was proposed for extracting target musical instrument sounds from a mixture of instrumental sound. The sRNN model stacks and links multiple simple recurrent neural networks (RNNs), which makes sRNN an excellent model with temporal dynamic behavior and real deepness. The GRU improves the gate foundations of long short-term memory and reduces the operating time. Experiments were conducted to test the proposed method. A musical dataset collected from real instrumental music was used for training and testing; electric guitar and drum sounds were the target sounds. Objective and subjective assessment scores obtained for the proposed method were compared with those obtained for two models, namely Wave-U-Net and SH-4stack, and a conventional RNN model. The results indicated that electric guitar and drum sounds can be successfully extracted through the proposed method. [ABSTRACT FROM AUTHOR]

During COVID-19 pandemic countries faced various levels of COVID-19 infection rates. This affected the educational process where universities were forced to switch to online learning. This situations crated various challenges for university schools in general and music schools in specific, in dealing with this situation that necessitates emergency measures to continue the academic course amid the lock-downs and social distancing measures. Therefore, it is important to evaluate the effectiveness of online methods of learning and to decide their feasibility and appropriateness for music students. Thus, this research aimed at investigating Music Students' Perception towered Music E-learning Education during COVID-19 Pandemic. Also it aims at investigating music Distance learning knowledge, attitudes and practices and challenges faced to provide suggestions for solving the challenges. An online survey distributed to a sample of (83) students from the music department at the University of Jordan. The survey sought population and socio-economic information and information relating to electronic and online musical training; musical education during the COVID-19 pandemic; mental music assessments; and the skills, attitudes and practices of E-learning. Most respondents (76.2%) agreed that distance learning is applicable in music department. (54.2%) of the respondents agreed distance learning is a possible substitute for standard education. However, E-learning has actually been created as a modern way of improving the process of learning and improving learning performance. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Working memory (WM), which plays a vital role in daily activities, is a memory system that temporarily stores and processes information when people are engaged in complex cognitive activities. The influence of music on WM has been widely studied. In this work, we conducted a series of n-back memory experiments with different task difficulties and multiple trials on 14 subjects under the condition of no music and Alpha wave leading music. The analysis of behavioral data show that the change of music condition has significant effect on the accuracy and time of memory reaction (p<0.01), both of which are improved after the stimulation of Alpha wave music. Behavioral results also suggest that short-term training has no significant impact on working memory. In the further analysis of electrophysiology (EEG) data recorded in the experiment, auto-regressive (AR) model is employed to extract features, after which an average classification accuracy of 82.9% is achieved with support vector machine (SVM) classifier in distinguishing between before and after WM enhancement. The above findings indicate that Alpha wave leading music can improve WM, and the combination of AR model and SVM classifier is effective in detecting the brain activity changes resulting from music stimulation. [ABSTRACT FROM AUTHOR]

Over the last 20 years, the conservation literature around installation and performance artworks has increasingly relied on concepts and analogies from the philosophy of music to reformulate the concept of authenticity for artworks that recur in multiple instances. Within these frameworks, authenticity is often framed as a quality ascribed to a manifestation on the basis of its compliance with the artist's explicit directives or a precision of formal resemblance with past manifestations. This article resituates the concept of authenticity invoked in fine art conservation within a wider discourse in analytic philosophy on the type-token distinction and artworks as abstract entities that are instantiated in time and space. Given the intersubjective nature and situatedness of authenticity judgements pertaining to a work's manifestations, this article considers the limitations of authenticity frameworks predicated exclusively on score compliance and considers how a type-token ontology is more capacious. This article demonstrates how this distinction already underpins existing frameworks and discourses, how it aids in conceptualising the relationship between an artwork's potentially multiple versions or variants and their manifestations, and how it accommodates the ways perceptions of an artwork's identity are socially mediated through time and may differ across its viewership. [ABSTRACT FROM AUTHOR]

Copyright of Jahrbuch Musikpsychologie is the property of Audio Engineering Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Electrónica de LEEME is the property of Institut de Creativitat i Innovacions Educatives and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Latinoamericana de Estudios Educativos is the property of Centro de Estudios Educativos, A.C. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this study was to gather the textual and visual narratives of undergraduate males about their singing experiences during the adolescent voice change. Analysis explored these students' reasons for participation (or not) in secondary choral music, their self-perceptions as singers, and of their vocal maturation process. Much current research focuses on the attrition of young males from school choral music education during the middle and high school years. One purpose of this study was to extend the population to collegiate-aged male singers, with a focus on factors related to vocal health. The forty-nine participants ranged in age from 17 to 35 and represented two university choral programs, one in the United States and one in Ecuador. Participants contributed through written questionnaires, individual interviews, and focus group discussions. Analysis highlighted six thematic categories concerning the role of peers, masculinity, standards of musical excellence, singing versus choral music, perceptions of the voice change, and the longitudinal singing experience of individual singers throughout the span of adolescence into young adulthood. This report focuses on issues related to participants' perceptions of the voice change, vocal health, and pedagogy. Forty-two of the participants (86%), unprompted, recommended that choral teachers of adolescent males offer instruction specific to vocal health and singing during the voice change. [ABSTRACT FROM AUTHOR]

Visual teaching is a teaching method or teaching tool that presents a clearer and more intuitive image of music works to students. Drawing on the theory of brainstorming, this paper explores the application of brainstorming, a brain stimulation method, in visual teaching of music. The main results are as follows: visual music teaching mainly improves music skills, cultivates music aesthetics, and enhances communicative competence. Once introduced to music class, the creative thinking method of brainstorming enables the teacher to train the divergent and creative thinking of students. During music teaching, brainstorming stimulates the learning interest, boosts the learning confidence, and cultivates the independent thinking of students. The research findings lay a theoretical basis for music course reform. [ABSTRACT FROM AUTHOR]

Music can induce strong emotions and psychological changes. The emotional control and mental health management of college students are greatly affected by gender, family background, grade, and other factors. Through music intervention, this paper explores how music-induced emotions influence the emotional control and mental health management self-efficacy of college students. The results show that positive music promotes the control of positive emotions, as positive music can give full play to active emotions; negative music both controls and enhances the negative emotions of college students; music intervention significantly affects the pleasantness dimension of the mental health of college students, but insignificantly affects the arousal dimension. The research findings lay a basis for further studies on emotional control and mental health management of college students. [ABSTRACT FROM AUTHOR]

The article focuses on breathing technique does not serve all kinds of singers, and that is certainly true for jazz/pop singers although much has been written by singing pedagogues as well as scientists on the subject of breathing technique for singers. Topics include the great deal of scientific literature regarding breathing technique of experience in the field of jazz and pop, and the relationship partly determines where the focus should lie when developing an efficient breathing technique.

The rise of open data in the cultural domain is democratizing access to complex datasets usually presented as large multivariate and multilayered graphs. However, the exploration of such datasets is challenging for laypersons. The objective of this work is to develop and evaluate a new method for exploring and understanding a specific type of multilayered graph that combines a large bipartite graph with a set of tree structures. This paper proposes MuzLink, an interactive visualization tool that allows the user to navigate, search, locate, and compare collaborative and influential relationships between musical artists through the exploration of musical adaptations. The proposed tool is based on a set of connected timelines visualizing how an artist's collaborations, inspirations, and influences evolved over time. This design study is conducted in close collaboration with BAnQ, the national library and archives agency of the Quebec government. A controlled user study, done with a group of BAnQ users, and two case studies, show how the proposed approach is capable of performing a considerable set of analytical and exploratory tasks. [ABSTRACT FROM AUTHOR]

• The study seeks to validate the positive impacts of musical instruction on mathematical competence and explore the role of mathematical creativity in this connection. • The results revealed a moderate and positive correlation between mathematical creativity and mathematical competence. However, the data reveals that some students with high mathematical creativity achieve low academic performance, and vice versa. • Students with musical training in the conservatory not only achieve higher scores in the mathematical competence test but also in the mathematical creativity test, even after taking into account the effect of higher performance. • Our findings indicate that training in a specific domain can exert influence on creativity in unrelated domains. Studies generally affirm a positive association between musical instruction and mathematics performance, although conflicting views persist. No prior study has been found examining the potential impact of music training on mathematical creativity and limited research has addressed the relationship between this instruction and overall creativity. This study aims to validate the positive effects of musical training on mathematical performance and explores the role of mathematical creativity in this relationship, addressing a research gap. For this purpose, 220 students of the third year of compulsory secondary-school education (62 of whom combined compulsory education with musical studies at the conservatory) underwent two tests to assess their mathematical creativity and academic performance in mathematics. The results revealed that the percentage of students with high mathematical creativity is relatively small (5.9 % of the participants). Besides, a moderate and positive correlation (r = 0.504) between both variables was found. However, in some cases, there was a lack of association between the scores of the two tests suggests diverse educational implications, as the presence of mathematically creative students whose potential may remain hidden due to average academic performance in this discipline. Furthermore, students who received musical training demonstrated greater mathematical creativity, even after considering the effect of higher academic performance in mathematics, suggesting that musical instruction enhances creativity in the domain of mathematics. [ABSTRACT FROM AUTHOR]

Musical Ear Syndrome (MES) is an uncommon phenomenon described as the perception of auditory musical sensations not corresponding to any external stimulus. It seems to be more frequent in case of profound hearing loss. Our objective was to evaluate prevalence, characteristics and risk factors in a population of cochlear implant patients. A retrospective study was conducted in cochlear implant patients, who were adult (> 18 years) in 2020 and underwent cochlear implantation between 1993 and 2019. We analyzed the presence and characteristics of MES. 118 of the 358 patients (33%) perceived or had perceived auditory musical sensations: 71 (19.8%) before, 100 (28%) after, and 53 (14.8%) both before and after implantation. The musical auditory sensations were usually short and well-tolerated, resembling instrumental music, and occurring several times a day. Thirteen patients (11%) considered them intolerable. Fatigue was a triggering factor in 40 patients (33.9%). Personal and medical characteristics, type of implantation, make of implant, etiology and tinnitus did not emerge as risk factors. On the other hand, MES+ patients were significatively younger (56 ± 17.4 years versus 61.9 ± 17.9 years; P = 0.0009). Despite the phenomenon, patients were satisfied with implant functioning and subjective auditory performance was not affected. Prevalence of Musical Ear Syndrome was high in cochlear implant patients, and especially in younger subjects. It is essential to improve knowledge of this phenomenon. [ABSTRACT FROM AUTHOR]

The article focuses on Voice Range Profile (VRP) has long been recognized as a clinical voice assessment tool which provides an overview of the physiologic range of vocal intensity as a function of fundamental frequency range. Topics include the VRP was recommended early as a voice classification tool for singers, the VRP to the forefront again for professional and amateur vocal performers, and the normative voice range profiles of male and female professional voice users.

The article focuses on nature of the beast that much of the assessment of voice quality is highly subjective describe the singing voice, pitch should be the most objective, as it is the perceptual correlate of fundamental frequency, which can be measured objectively. Topics include the intonation should be a perceptual quality on which singing teachers can agree, the pitch accuracy is generally considered by singing teachers, and the use of pitch correcting software in popular music recording.

Copyright of Journal of Computer Science & Technology (JCS&T) is the property of Journal of Computer Science & Technology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Emotional style of multimedia art works are abstract content information. This study aims to explore emotional style transfer method and find the possible way of matching music with appropriate images in respect to emotional style. DCNNs (Deep Convolutional Neural Networks) can capture style and provide emotional style transfer iterative solution for affective image generation. Here, we learn the image emotion features via DCNNs and map the affective style on the other images. We set image emotion feature as the style target in this style transfer problem, and held experiments to handle affective image generation of eight emotion categories, including dignified, dreaming, sad, vigorous, soothing, exciting, joyous, and graceful. A user study was conducted to test the synesthesia emotional image style transfer result with ground truth user perception triggered by the music-image pairs’ stimuli. The transferred affective image result for music-image emotional synesthesia perception was proved effective according to user study result. [ABSTRACT FROM AUTHOR]

Practical Applications to Prevent Guitarist's Injuries 28 MTNA e-JOURNAL APRIL 2021 Practical Applications to Prevent Guitarist's Injuries Figure 11 Figure 12 Figure 10 29 MTNA e-JOURNAL APRIL 2021 CONCLUSION With playing-related injuries being so widespread among student and professional musicians it is clear that there is a very real need for instrument tuition to change so that musicians are educated from as earlier an age as possible in matters of physiology, muscle training and muscle recovery. 12 MTNA e-JOURNAL APRIL 2021 T he statistics of injury prevalence among student musicians suggest that more could be done to prepare aspiring professionals for the rigors of a very demanding career. Despite musicians' injuries being reported in the 19th century (Poore 1887, 442; Bianchi 1978, 88), it wasn't until 1984 that performers' health issues truly had a platform when the British Association of Performing Arts Medicine (BAP AM) grew out of a project started by a consultant pharmacologist who developed an interest in musician's medical problems. The guitar is listed as a high-risk instrument (Lee et al. 2012, 85) and a survey of guitarists playing popular music reports injury rates greater than 60% (Rigg, Marrinan and Thomas 2003, 150) while Marques et al. (2003, 11) found that in the Spanish region of Andalusia 62.5% of professional classical guitarists and 87.5% of professional flamenco guitarists have an overuse injury. The exact causes of overuse injuries in musicians is an ongoing debate, made more complex by examples of musicians who "can subject their bodies to unhealthy techniques for years without serious consequences", while "others have more delicate physical responses and become injured in a short time" (Bruser 1999, 73). [Extracted from the article]

The purpose of this study was to investigate student motivation and achievement in music appreciation by comparing web-based and game-based online music learning environments. Undergraduate students (N = 132) from a public research university in the southeastern United States participated in the study. Based on the pretest-posttest control-group design, two groups of 66 students were randomly assigned to a control (web-based online instruction) or treatment group (game-based online instruction). Achievement was measured by using a multiple-choice pretest and posttest. The IMMS (Instructional Materials Motivation Survey) by Keller (2010) was administered to assess student motivation. Analysis showed that the students improved their achievement scores in both game-based and web-based online music learning environments. While there was no significant difference in student motivation between the two groups, the web-based online group significantly outperformed the game-based online group in student achievement. The results of the study indicated that minimizing extraneous multimedia learning materials might be crucial to improving student achievement in music appreciation. A full discussion is provided. [ABSTRACT FROM AUTHOR]

Voice pitch is the primary perceptual correlate of fundamental frequency (f o) and describes how low or high a voice is perceived by listeners. Prior research showed that men whose habitual voice pitch is lower are perceived to have stronger fighting ability. However, voice pitch is also flexible and can thus be used facultatively to signal states that change situationally, such as current aggressive intent (i.e., readiness to use aggression). Drawing on motivation-structural-rules theory, this research tests the hypothesis that male speakers will be perceived as more likely to attack when they lower (compared to raise) their pitch to address an adversary in a conflict situation. Three experiments using male speakers and listeners supported this hypothesis, both with and without controlling for the perception of the speakers' fighting ability. In contrast, the same experiments found no evidence that pitch lowering enhanced the speakers' perceived fighting ability after controlling for their perceived aggressive intent. Moreover, we found mixed evidence that the speakers' perceived physical strength interacted with pitch modulation to influence their perceived aggressive intent. On balance, these findings show that, at least for men, pitch modulation is primarily an aggressive-intent signal assessed independently of signalers' fighting ability. Future research should distinguish between perceptions of aggressive-intent and fighting-ability when examining the perceptual effects of male voice-pitch modulation in intrasexual competition. [ABSTRACT FROM AUTHOR]

Copyright of Revista Electrónica de LEEME is the property of Institut de Creativitat i Innovacions Educatives and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Electrónica de LEEME is the property of Institut de Creativitat i Innovacions Educatives and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Professional dancers were video recorded dancing with the intention of expressing melancholy, grief, or fear. We used these recordings as stimuli in two studies designed to investigate the perception and sociality of melancholy, grief, and fear expressions during unimodal (dancing in silence) and multimodal (dancing to music) conditions. In Study 1, viewers rated their perceptions of social connection among the dancers in these videos. In Study 2, the same videos were coded for the amount of time that dancers spent in physical contact. Results revealed that dancers expressing grief and fear exhibited more social interactions than dancers expressing melancholy. Combined with the findings of Warrenburg (2020b, 2020c), results support the idea that--in an artistic context--grief and fear are expressed with overt emotional displays, whereas melancholy is expressed with covert emotional displays. [ABSTRACT FROM AUTHOR]

Music makes humans move in ways found to relate to, for instance, musical characteristics, personality, or emotional content of the music. In this study, we investigated associations between embodiments of musical emotions and the perception thereof. After collecting motion capture data of dancers moving to emotionally distinct musical stimuli, silent stick-figure animations were rated by a set of observers regarding perceived discrete emotions, while 10 movement features were computationally extracted from the motion capture data. Results indicate kinematic profiles--emotion-specific sets of movement characteristics--that furthermore conform with dimensional models of valence and arousal, suggesting that observers rated the emotions consistently according to distinct movement features prevalent in the animations. Outcomes show commonalities and differences to a previous study that linked these movement features to auditory perception of musical emotion, providing insights into how emotional expression of music-induced movement could be conveyed and understood through auditory and visual channels, respectively. [ABSTRACT FROM AUTHOR]