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This research discusses that cognitive processes such as memory, attention and creativity differ in students and professionals, among musicians and non-musicians, dealing with musical performance. The purpose of the study was to evaluate and compare the role of memory, attention and creativity as cognitive processes in musical performance, focusing on the differences between non-musicians and musicians. The sample involved 400 individuals, students and professionals, specialising in music and economics. The research instruments used by the scholars were the Wechsler Memory Scale, the Conners Performance Test, and the Torrance Tests of Creative Thinking. Musical students possessed better-developed auditory and short-term memory, while professional musicians had better auditory, visual working and short-term memory. Analysis of attention reveals that music students score better than non-musicians on all four aspects: inattention, impulsivity, sustained attention, and vigilance. For professionals, the key aspects are impulsivity and sustained attention with better results revealed in musicians. Creative thinking was the only factor where the differences were statistically significant in all five scales and the findings proved that creativity was better developed among musicians. This study provides an in-depth analysis and adds new knowledge to existing literature and empirical data on the cognitive processes associated with musical performance, focusing on memory, attention and creativity. By examining the differences between non-musicians and musicians, as well as students and professionals, the study provides insight into how musical performance can be used as a way to develop these cognitive processes. [ABSTRACT FROM AUTHOR]

The study investigates the temporal perceptions of the listeners within the structural framework of North Indian Classical Music exploring the connection between the present-day ragas and the time theory that exists. A pilot study was conducted with twenty diverse participants. The study examines the contemporary relevance of the time theory of ragas, assessing their alignment with the traditional temporal associations and thereby exploring the perceptions of the listeners. The results demonstrated the aspects of the temporal perception that are influenced by factors such as preferences of music, cultural knowledge, upbringing, musical training, etc. The study contributes to understanding of the traditional time theory of the ragas and its complex interactions with the listeners. [ABSTRACT FROM AUTHOR]

Copyright of Cumhuriyet International Journal of Education is the property of Cumhuriyet University, Faculty of Education 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.)

Music therapy is a therapeutic strategy that uses the natural mood enhancing feature of music to help patients improve their mental health. The music therapist employs a variety of therapies, which can be grouped into two main groups: active interventions and passive interventions. Passive music therapy strategies allow the patient to listen live or recorded music, while active methods engage the patient to sing, compose, or play an instrument. Natural sounds, classical music, or Western music can help patients feel less anxious by lowering cortisol levels, blood pressure, and heart rate. The frequency and length of each music therapy session might vary greatly depending on the desired result, the patient's preferences, and the environment in which the therapy is provided. This paper provides the frequencies for swaras of both classical music and western music to carefully study the frequency difference between the music. Also, it studies the Indian Classical Ragas Structure and its Influence on Human Body for Music Therapy. This investigation has explicitly demonstrated that different ragas can generate different emotions and examined the significance of various music for metabolic syndrome. Finally, it identifies the need for AI to provide valuable information and recommendations for patients. This study can be used to increase the understanding ability of researchers regarding music therapy and its effects related to different diseases. [ABSTRACT FROM AUTHOR]

Music education has a rich historical background. Nevertheless, the introduction of modern teaching methods is relatively delayed. In recent years, there has been a remarkable acceleration in the advancement of music education. A promising tool that has emerged to revolutionize education as a whole is Virtual Reality (VR) technology, which offers immersive and interactive experiences across various disciplines. At the university level, integrating VR technology into music education opens up exciting opportunities to enhance practical teaching methods and provide students with enriched musical experiences. Virtual Reality together with Internet of Things (IoT) demonstrates its capabilities in various tasks, but its widespread availability in online learning remainders a pressing challenge that needs to be addressed. In pre-processing, it removes noise data using Dynamic Context-Sensitive Filtering (DCSF). VR technology creates an unparalleled learning environment, it transporting students to virtual concert halls, recording studios, or historical music venues. Hence the Multiscale deep bidirectional gated recurrent neural Network (MDBGNN) improves the practical teaching of music course concept, like Music theory, harmony, and rhythm can be visualized and experienced in VR. Finally, Dung Beetle Optimization Algorithm (DBOA) is employed to optimize the weight parameters of MDBGNN. The proposed MDBGNN-DBO-UMC-VRT is implemented in Python. The proposed method is analysed with the help of performance metrics, like precision, accuracy, F1-score, Recall (Sensitivity), Specificity, Error rate, Computation time and RoC. The proposed MDBGNN-DBO-UMC-VRT method attains 13.11%, 18.12% and 18.73% high specificity, 11.13%, 11.04% and 19.51% lower computation Time, 15.29%, 15.365% and 14.551% higher ROC and 13.65%, 15.98%, and 17.15% higher Accuracy compared with existing methods, such as Enhancing Vocal Music Teaching through the Fusion of Artificial Intelligence Algorithms and VR Technology (CNN-UMC-VRT), Exploring the Efficacy of VR Technology in Augmenting Music Art Teaching (BPNN-UMC-VRT) and Implementing an Interactive Music-Assisted Teaching System Using VR Technology (DNN-UMC-VRT) respectively. [ABSTRACT FROM AUTHOR]

Copyright of Lubelski Rocznik Pedagogiczny is the property of Maria Curie-Sklodowska University in Lublin 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 given text is a review of two music-related books. The first book, "William Byrd: Consort Music," is praised for its analysis and informational details on the music of William Byrd, filling a gap in Byrd scholarship. The second book, "Music, a Connected Art: Die Illusion der Absoluten Musik; A Festschrift for Jürgen Thym on His 80th Birthday," is a collection of essays and tributes in honor of Jürgen Thym, a German musicologist. The review highlights the diverse themes and perspectives covered in the book, including music and poetry, music theater, and individual composers. [Extracted from the article]

Music is closely related to soundscape. The present study employs methods and tools for assessing soundscape perception to compare the evaluation of soundscape perception between students who had not been taught general music courses (n = 80, equal into N1, N2) with that of students who had been taught general music courses (n = 40, MU) in four distinct audio-visual environments. According to the results of the questionnaire in four scenes and eight perceptual dimensions, there are significant differences between MU and N1 N2 (4-5 items), whereas there is only a slight difference between N1 and N2 (1 item). The difference in soundscape perception is reflected in those students who had been taught general music courses having a higher evaluation of the diversity of soundscape elements (as eventful), and different emotional judgments of the sound environment (as calm). These differences are visualized using the soundscape analysis tool, Soundscapy. Overall, the findings suggest that taking a general music course promotes richer sound perceptions and clearer affective associations with sound and that these enhancements could be presented using the soundscape perception measurement method. The findings also presented could inform the effectiveness of teaching in a general music course. [ABSTRACT FROM AUTHOR]

Using three musical pieces as musical stimuli from Romania, Brazil, and Saudi Arabia, this study extended Fung's study by examining Chinese pre-service music teachers' (n = 115) and schoolteachers' (n = 131) personal preferences and external preferences for orchestral, folk, and popular music pieces. Two groups of participants were asked to select their preferred music from three pieces and to provide verbal descriptions of the reasons for their selections. The results showed (a) no significant differences in personal preference between the two groups but statistical significances in external preferences between the two groups; (b) the highest preference rating by both groups of teachers was folk music and the highest forced-choice preference was popular music; (c) statistically significant correlations between personal preference and external preference were evident in both groups across all three pieces; and (d) frequent descriptions by both groups of participants of the pieces in terms of musical characteristics were shared. The implications of this study are as follows. (1) Psychologists and music researchers gain insights about Chinese young adults' listening preferences, which might offer implications for future research in the field of psychology; and (2) By enhancing multicultural awareness, music education teachers and researchers should combine different music styles to broaden students' music horizons. [ABSTRACT FROM AUTHOR]

The purpose of this Self-Study of Teacher Education Practice (S-STEP) was to examine faculty and student perceptions of co-curricular experiences between an undergraduate instrumental conducting and a junior-level music education course. To help students develop their conducting and pedagogical skills simultaneously, music education and conducting faculty co-taught their courses and developed and implemented co-curricular assignments for 14 co-enrolled participants. Data were collected from faculty journals, meeting transcriptions, participant surveys, and interviews. Findings indicate that the collaboration and co-curricular experiences promoted student and faculty growth. Increased podium time and peer teaching opportunities during which students are given feedback greatly improved students' perceived level of comfort and confidence in front of an ensemble. In addition, the co-teaching and co-curricular assignments between conducting and music education courses promoted substantial growth in students' conducting and pedagogical skills and their ability to connect the two. Implications for music teacher education, future research, and further revision of these collaborative practices are discussed. [ABSTRACT FROM AUTHOR]

In this research, it is aimed to determine the music listening habits of the students studying at Bursa Uludag University Music Education Department, to evaluate the effects of listening to music on theoretical and instrument lessons, and to offer suggestions that will improve these habits and make them more conscious and effective. The case study method, which is one of the qualitative research methods, was used in the study. In order to obtain the data, a semi-structured interview form with 20 questions was developed by the researchers. The study group of the research consists of twenty students, ten women and ten men, studying at Bursa Uludağ University Music Teaching Department. The results obtained from the study were analyzed using the descriptive analysis method and 5 themes, 15 sub-themes and 67 codes were reached. As a result of the findings to be obtained from this study, it is aimed to determine whether the music listening habits of music teacher candidates are sufficient and conscious, to offer activities and methods that will gain these habits, and thus to shed light on the training of more cultured and well-equipped music teachers. [ABSTRACT FROM AUTHOR]

Emotional intelligence is a psychological variable that affects personal well-being and transcends the educational field. It is known that learning music provides emotional benefits for people and that emotional intelligence varies by age and gender. Based on these principles, we propose this research with the following objectives: to measure the perceived emotional intelligence of adolescent students of obligatory secondary education from Valencia, to compare by the variables of musician-non-musician and gender; and to explore the effect of music on the perceived emotional intelligence of young musicians considering gender as a variable. The final sample comprised a total of 409 adolescents of between 11 and 16 years of age. The data collection tools were an ad hoc sociodemographic questionnaire and the Trait Meta-Mood Scale (TMMS-24). The results of the statistical analyses displayed significant differences by gender in emotional attention; a positive correlation between age and attention, which increases with progress through adolescence; and a significant effect that reveals greater emotional clarity in musicians. This effect occurs independently of the gender of the subject, and so it benefits boys and girls equally. [ABSTRACT FROM AUTHOR]

Development of vocal exercises with visual art and interactive tools might contribute to development of students' musical skills and enhance learning effectiveness. This paper gets an insight into the effectiveness of the vocal exercises developed with visual art tools and a vocal training app. The survey was conducted among 110 students from a music school in China. Students from small groups B who used MOOC and the developed vocal exercises performed 8.6% better compared to the control group, suggesting the programme's effectiveness for teaching vocal performance. Group B post-assessment of the special factors showed increased scores on the three assessment criteria after the intervention. This study has practical value and is important for further research because it demonstrates the developed vocal exercises' effect on musical skills. Research findings may be applied in educational institutions that are interested in finding ways to develop musical skills and improve the effectiveness of vocal training. The results are important for teachers, education officials and everyone interested in the introduction of interactive environments. [ABSTRACT FROM AUTHOR]

Music listening is a dynamic process that entails complex interactions between sensory, cognitive, and emotional processes. The naturalistic paradigm provides a means to investigate these processes in an ecologically valid manner by allowing experimental settings that mimic real‐life musical experiences. In this paper, we highlight the importance of the naturalistic paradigm in studying dynamic music processing and discuss how it allows for investigating both the segregation and integration of brain processes using model‐based and model‐free methods. We further suggest that studying individual difference‐modulated music processing in this paradigm can provide insights into the mechanisms of brain plasticity, which can have implications for the development of interventions and therapies in a personalized way. Finally, despite the challenges that the naturalistic paradigm poses, we end with a discussion on future prospects of music and neuroscience research, especially with the continued development and refinement of naturalistic paradigms and the adoption of open science practices. [ABSTRACT FROM AUTHOR]

During his prolific career, the German Jewish scientist Franz Boas (Minden, 1858 - New York, 1942) recognized as the founding father of American Cultural Anthropology – maintained assiduous contacts with the European scientific community, in a privileged way with that of the German area. The contribution addresses the Boasian correspondence with the two directors of the Berliner Phonogramm-Archiv, the philosopher and psychologist Carl Stumpf, and the ethnomusicolo-gist Erich Moritz von Hornbostel. All three were united by a common scientific experimental training and a solid musical education, typical of their Bildungsbuürgertum. With them, Boas consistently shared his fieldwork findings regarding music, sound, and language among the Indians of British Columbia: indeed, their epistolary exchanges intertwine epistemological reflections centered on the study of «exotische Musik» in context with technical problems, derived from the use of phonographic recordings and the relative shipments of wax cylinders by Boas to the Phonographic Archive. So far, the critical literature has not paid particular attention to their correspondence, that offer instead a privileged look in observing the birth of Ethnomusicology, at the time still defined as comparative Musicology (vergleichende Musikwissenschaft). Starting from a biographical contextualization and following the micro-history of the scientific and personal relationship of these scientists, the contribution aims to explore the hypothesis that the emerging Ethnomusicology significantly contributed to the definition of Cultural Anthropology as a discipline. In his painstaking research devoted to the Native Indian sounds and languages, Boas observed indeed what happens if a mind is exposed to a new sound, musical or linguistic context; he had therefore to rigorously deal with the phenomena of mishearing, sound-blindness and biasing filter related to the perception of «new sounds». Thanks to his fieldwork, Boas would endorse a relativistic and "in context" approach to perception and mental representations of sounds, fostering his eventual lifelong, hectic concern about a broaden antiracist theory of human mental functions. [ABSTRACT FROM AUTHOR]

Musical abilities and the possibilities of measuring them have drawn the attention of both music educators and music psychologists for decades. Due to parallel development of these disciplines, the assessment of musical abilities can be categorized into two main types – evaluation by music educators (primarily based on reproduction assessment) and the measurement of perceptual abilities through tests. Although the majority of standardized psychological tests for musical abilities emerged during the 20th century, it is evident that this issue continues to inspire researchers in more recent times. Consequently, there is a considerable number of newer tests for assessing musical abilities. The aim of this study is to present the characteristics of tests published after the year 2000, highlighting their potential applications in educational practice and within the scope of research on musical abilities across different disciplines. The following instruments have been analyzed: Goldsmiths Musical Sophistication Index (Gold-MSI), Montreal Battery of Evaluation of Amusia (MBEA), University of Washington Clinical Assessment of Music Perception Test, The Montreal Battery of Evaluation of Musical Abilities (MBEMA), MBEMA on tablet, Implicit Tonal Ability Test (ITAT), Musical Aptitude Test (MAT), Musical Ear Test (MET), Profile of Music Perception Skills (PROMS), Brief PROMS, PROMS-S, Mini-PROMS, and Micro-PROMS. The results of the research reveal evident differences in the content and purpose of the tests. Some tests can be applied as early as the age of 4 to 6 years (MBEMA on tablet), from 6 to 8 years (MBEMA), and from 6 to 12 years (ITAT), while others are intended solely for adult participants. Variations also exist in the content of the tests, determining which types of musical abilities will be measured. While MET includes only two subtests (Melody and Rhythm), others incorporate tasks such as Harmony, Dynamics (MAT), Tuning, or Loudness (PROMS). Another significant variable is the duration of the assessment, ranging from as little as 10 minutes for implementation (Micro-PROMS) to as much as 90 minutes (MBEA). Depending on the research needs, the manner of expressing results should be considered, as most tests calculate a total score, whereas MAT presents results in the form of a five-dimensional profile. In conclusion, there is a solid selection of tests for musical abilities published after the year 2000, accessible to researchers. Some of them are adapted for online use, enabling a broader range of participants in research in the field of music pedagogy and other disciplines. We hope that the test overview presented in this study will aid researchers in selecting suitable instruments for their investigations, taking into account different types of abilities in relation to research needs, participant age, or planned assessment time. [ABSTRACT FROM AUTHOR]

INTRODUCTION: In the new era of information society, the knowledge reform of school music education is getting more and more attention. Traditional teaching methods need to make full use of information technology. They cannot meet the current learning needs because the learning of information technology teaching is an essential means to realize modern learning., therefore, the application of information technology in music education meets the requirements of the times. OBJECTIVES: To improve traditional teaching methods by utilizing modern teaching techniques so that students can gain more knowledge. With the help of modern technology and information technology, secondary music education can change the students' audiovisual experience, enrich their musical experience, and deepen their understanding and memorization of knowledge. METHODS: In this paper, use a neural network algorithm to explore the integration mechanism of music teaching design and education information technology, optimize the traditional information technology teaching platform, improve the stability of the music teaching platform, and further improve the level of network teaching from the feedback of students and teachers. RESULTS: This study's results found that this experiment's educational platform could motivate students to manage teaching and actively participate in music teaching and lessons. However, due to the real-time nature of information technology, it removes doubts between the parties and facilitates communication between teachers and students. The primary goal of music education is to perceive the attraction of music in terms of sight and sound, to relax the mind and body, and to develop a musical personality. From this perspective, it is also necessary to utilize modern information technology to change teachers' traditional teaching methods in classical performance and singing. CONCLUSION: With the help of modern technology and information technology, secondary music education can change the audiovisual experience of students, enrich their musical experience, and deepen their understanding and memorization of knowledge. The information system can motivate students to manage teaching and actively participate in music teaching. [ABSTRACT FROM AUTHOR]

Keyboard instruments play a significant role in the music teaching process, providing students with an enjoyable musical experience while enhancing their music literacy. This study aims to investigate the current state of keyboard instrument teaching in preschool education, identify existing challenges, and propose potential solutions using the literature review method. In response to identified shortcomings, this paper proposes integrating intelligent technology and subject teaching through the application of teaching robots in keyboard instrument education. Specifically, a Convolutional Neural Network model of Deep Learning is employed for system debugging, enabling the teaching robot to analyze students' images and movements during musical instrument play and deliver targeted teaching. Feedback from students who participated in keyboard instrument teaching with the robot indicates high satisfaction levels. This paper aims to diversify keyboard instruments' teaching mode, introduce the practical application of robots in classroom teaching, and facilitate personalized teaching catering to individual students' aptitudes. [ABSTRACT FROM AUTHOR]

The study aims to investigate the impact of a specially designed intervention programme on middle school students' creative thinking and musical experience. The study was conducted among 120 students (SD = 13.4) at middle music schools in the PRC. The instruments included the Creative Personality Scale (CPS) and the Scale of Musical Experience (SME). On the CPS post-test, the control group demonstrated the same creativity, suggesting the impossibility of independent development of creative abilities within an educational institution. The influence group demonstrated increased medium creativity (10.0%) and strong creativity (11.1%). SME post-test in the control group suggests that poor musical experience fell by 11.4%, medium experience increased by 6.4% and strong musical experience increased by 5.0%. The influence secured the dominance of the medium musical experience, with poor musical experience reduced by 22.3% and strong experience increased by 15.7%. The present findings can enhance scientific knowledge about classical music practices and their adoption within educational institutions. The practical significance of the study lies in the fact that creativity-oriented practices can be integrated into music schools. [ABSTRACT FROM AUTHOR]

Various techniques are employed to enhance music listening and perception skills in early childhood. One of these techniques is the musicogram method, proposed by Wuytack in the early 1970s following research into active music listening. This study aims to examine musicogram videos targeting early childhood shared on a social media platform, YouTube. The study employed a qualitative research method, and data was collected through document analysis. For data collection, videos were accessed on the video-sharing platform YouTube using keywords "müzikogram," "müzogram," "musicogram," "musicograma." Within the filtering criteria, musicograms in Turkish and different languages were included in the study based on their highest view counts across all time periods and sorted by ranking. As a result of the study, it was observed that classical Western music was predominantly used in musicograms prepared in different languages, whereas digital music and familiar children's songs were preferred in Turkish musicograms. It was also found that the symbolic representation used in musicograms did not correspond to the melodic rhythmic patterns of the compositions. The use of musicograms for early childhood has gained significant popularity on social media; however, there is a need to enhance the content to be more comprehensive, including theoretical and practical information. [ABSTRACT FROM AUTHOR]

In the contemporary landscape of diversified talent cultivation, enhancing education through intelligent means and expediting the process of talent development stand as paramount pursuits. Within the domain of instrumental music education, beyond merely listening to student performances, it becomes imperative to assess their movements, thus furnishing additional insights to fuel their subsequent growth. This article introduces a novel multimodal information fusion evaluation approach, combining sound information and movement data to address the challenge of evaluating students' learning status in college music instruction. The proposed framework leverages Internet of Things (IoT) technology, utilizing strategically positioned microphones and cameras within the local area network to accomplish data acquisition. Sound feature extraction is accomplished through the employment of Mel-scale frequency cepstral coefficients (MFCC), while the OpenPose framework in deep learning and convolutional neural networks (CNN) is harnessed to extract action features during students' performances. Subsequently, the fusion of feature layers is achieved through CNN, culminating in the evaluation of students' academic efficacy, facilitated by a fully connected network (FCN) and an activation function. In comparison to evaluations conducted by the teacher in the class, this approach achieves an impressive accuracy of 95.7% across the three categories of Excellent, Good, and Failed students' evaluation processes. This breakthrough offers novel insights for the future of music teaching and interactive class evaluations while expanding the horizons of multimodal information fusion methods' applications. [ABSTRACT FROM AUTHOR]

The aim of this study is to examine the attitudes and self-efficacy perceptions of students who receive professional music education towards modal hearing in terms of various variables (gender, age, class level, faculty of education). In the study, attitude and self-efficacy perception scales were used as data collection tools towards modal hearing developed by researchers. The Cronbach's alpha internal consistency coefficients of the scales were determined as 0.871 for the attitude scale and 0.901 for the self-efficacy perception scale. The study group of the research consists of 259 undergraduate students in their 3rd and 4th grade who were enrolled in courses related to Modal Hearing and studying in the Music Departments of Faculties of Education, Faculties of Fine Arts, and Conservatories in 12 randomly selected universities in Turkey during the 2021-2022 academic year. As a result of the research, it was determined that the students who received music education had positive attitudes towards modal hearing and considered themselves sufficient in modal hearing. On the basis of faculties, it was determined that the lowest attitude score belonged to the students of the faculty of fine arts, and the highest attitude score belonged to the students studying at the conservatory. There was no significant difference in self-efficacy perception scores between the three faculties. In addition, when the attitudes and self-efficacy perceptions of the participant students towards modal hearing were examined, it was seen that male students exhibited more positive attitudes than female students. It was determined that there was no difference in the attitudes and self-efficacy perceptions of the participating students towards modal hearing based on age and grade level variables. [ABSTRACT FROM AUTHOR]

The purpose of this quality improvement project was to examine a newly-implemented music admissions assessment process at a small liberal arts university and students' perceptions of that process, which was intended to provide a holistic view of prospective students' pre-admission achievement and to offer feedback regarding their readiness and potential success for meeting degree requirements. Faculty designed a three-part assessment process, integrating an inclusive perspective to provide them with a more complete view of a student's skills, strengths, and areas in need of development prior to initiating their music studies. This process was designed to place students at the center of the assessment process and ensure that they have the opportunity to demonstrate their broad scope of skills. Music, human development and learning (i.e., music education) and music therapy students were invited to be interviewed regarding their experiences of the revised assessment process. Nine students participated in a focus group and were interviewed individually. Data analysis revealed four themes: Connecting with Others; Professional Identity; Developing as a Musician; Seen as an Individual. This redesigned process provided students with opportunities to create connections with their peers and faculty, serving as a means of support and belonging in the social and academic environment. Supplemental data for this article is available online at https://doi.org/10.1080/10632913.2021.1937761. [ABSTRACT FROM AUTHOR]

A crucial aspect of musical ability is a music-specific empathic capacity that enables the performer to uncover subjective meanings from musical materials and fully feel them during performance. Based on insights from both theoretical and empirical research into the psychology of music performance and from pedagogical practice, this capacity is thought to rely on a more general empathic ability and can be nurtured easily in most people, including those scoring rather poor on standard musical aptitude tests measuring "melodic", "rhythmic", or "harmonic" skills. In my paper, I present the theoretical bases of a new pedagogical approach for nurturing in musicians the capacity of feeling the elements of musical meaning in real time (in the act of performance): I introduce a new theory of musical expressiveness by defining, from a psychological point of view and from the perspective of the performer's phenomenology, the various layers of musical meaning (the "what" system) and the temporal-attentional abilities that enable to express them in real time (the "how" system). The paper concludes with a short introduction to a novel implementation of the above model of performer's phenomenological processes into performance teaching: a full training of musical attention called "Practice Methodology". [ABSTRACT FROM AUTHOR]

In this study, we explored associations between perception of musical features (pitch, tonality, timing, timbre, and loudness), vocal abilities (singing accuracy, melodic achievement, and rhythmic performance), and cognitive levels (reading accuracy and comprehension, grammar, and math) among children ages 6 to 12. Musical perception abilities were measured using the Implicit Tonal Ability Test. Vocal abilities were measured using the Vocal Musical Ability Test. Cognitive levels were measured using standardized Dutch performance tests on academic skills. We investigated which factors (age, gender, cognitive levels, school type, music perception abilities, and participation in music education) predict vocal abilities and how these abilities differed by age. Results showed that singing accuracy was best predicted by gender, math level, and music perception abilities. Melodic achievement was best predicted by age, school type, math level, and music perception abilities. Rhythmic performance was best predicted by age, instrumental music education, and music perception abilities. Regardless of their age, differences in singing abilities between children were large. We advise teachers to provide activities in which repetition and prediction of patterns, scales, all intervals, and intonation are practiced, including transposing melodies and repeating rhythmic patterns. [ABSTRACT FROM AUTHOR]

In this study, we discuss the concepts of musical preference and musical style, the difficulties of categorising musical genres. In order to accomplish that, the opinions of students (N = 1159), aged 7–19 years, about each genre on specific musical examples are investigated. Our instrument was a self-developed online questionnaire, in which we inserted four musical excerpts. The types of music videos were street music, rock music, classical music, and folk music. We asked background questions related to the music excerpts, which focused on participation in instrument demonstrations and watching music shows. Results are interpreted in terms of students’ age, gender, comparisons between instrumental and non-instrumental students, and family background. There are significant differences in perceptions of genres by gender, age groups, instrumental and non-instrumental students. The comparison between gender shows that girls have more positive attitudes related to each music excerpt. 15-16 yearold students provided the lowest ratings for all four musical excerpts. Across the seven groups of instrumental and non-instrumental students, it is clear that students who are neither instrumental students nor do they want to be instrumental students gave significantly lower feedback regarding whether they like the given musical excerpts. Our results can provide feedback for school music education, which are based on the core curriculum of folk and classical music. The reason for that is that students, regardless of age group and gender, significantly prefer popular genres (street music, rock music) to classical music or folk music. There is no difference between the perception of the latter two. [ABSTRACT FROM AUTHOR]

GROOVE AND CATCHINESS ARE CENTRAL PROPERTIES of popular music that frequently appear together. Yet, a possible relationship has neither been postulated nor examined. In music psychology, groove is commonly understood as a pleasurable urge to move. Catchiness is often tied to the memorability of music, but it is less researched, and definitions are elusive. In this study, we conducted stimuli-guided expert interviews with popular music creators to unveil their understandings of groove and catchiness based on their experiential, practical, and artistic knowledge. These insights allowed us to expand the ontologies of groove and catchiness. We found that groove consists of a bodily experience and positive affect, with participation, immersion and social aspects playing a part as well. We propose catchiness as a multi-dimensional quality that depends on the listener’s perception and experience of music, in which memorization and positive affect are central, and engagement, immediacy, and clarity are other aspects. We found considerable overlap in groove- and catchiness-promoting structures, and hypothesize that they positively interact and support each other, with some exceptions. The perspective of music creators, our detailed discussion of the ontologies, and the hypothesized relationship can broaden the psychological concepts, help with the explanation of previous, and inspire future research. [ABSTRACT FROM AUTHOR]

One of the fundamental factors in the improvement of educational quality is teacher training. The training of music teachers is undoubtedly a heterogeneous training that presents disparate training profiles. The aim of this study is to analyze music teacher training at different educational levels based on the scientific evidence found in the Scopus and Web of Science databases through a retrospective descriptive design, using "music" and "teacher training" as search parameters. The study found, in particular, that music teacher training is scarce, making it essential to develop training plans to improve the pedagogical level of music teachers and thereby enhance the quality of music education at different levels. [ABSTRACT FROM AUTHOR]

Music is an integral part of daily human life, and certain types of music are often associated with certain contexts, such as specific music for sleeping or for studying. The mood-arousal hypothesis suggests that music used for studying should be uplifting to boost arousal and increase cognitive performance while previous studies suggest that music used as a sleep aid should be calm, gentle and slow to decrease arousal. In this study, we created the Study music dataset by collecting tracks from Spotify playlists with the words 'study' or 'studying' in the title or description. In comparison with a pre-existing dataset, the Sleep music dataset, we show that the music's audio features, as defined by Spotify, are highly similar. Additionally, they share most of the same genres and have similar subgroups after a k-means clustering analysis. We suggest that both sleep music and study music aim to create a pleasant but not too disturbing auditory environment, which enables one to focus on studying and to lower arousal for sleeping. Using large Spotify-based datasets, we were able to uncover similarities between music used in two different contexts one would expect to be different. [ABSTRACT FROM AUTHOR]

The purpose of this study was to examine music education faculty members' perceptions of admissions and selection criteria for entering master's students in music education degree programs. Using multistage sampling, we distributed a questionnaire to music education faculty at National Association of Schools of Music (NASM)-accredited institutions in the United States that offered master's degrees in music education. Results indicated that music education faculty were involved in most admission decisions, and that transcripts, interviews, and letters of recommendation were the most common materials submitted for review. In response to open-ended questions, participants reported that their admission decisions are usually determined by four criteria: academic skills, demonstration of potential as a graduate student, demonstration of teaching ability, and less measurable indicators. This exploration of the admissions and selection criteria that music education faculty use when making admission decisions provides music teacher educators a greater understanding of this important transition point. [ABSTRACT FROM AUTHOR]

Research has shown that memory is influenced by emotion. Several studies demonstrated the effectiveness of pharmacological and non-pharmacological interventions to modulate emotional memory pursuing clinical and educational aims. Music has been identified as a potential memory modulator, with results differing widely depending on whether the participant had musical training or not. The current study examined the effect of listening to music on musicians' and non-musicians' positive (study 1) and negative (study 2) emotional memory, in a group of 163 volunteers, aged 18–40. After the information was encoded, the groups of participants were exposed to arousing music (Symphony No. 70, D major by Joseph Haydn) or a control stimulus (white noise) for three minutes. Then memory was evaluated through free recall and recognition (immediate and deferred measures). Memory performance was compared between musicians (people with five or more years of music education) and non-musicians. Positive and negative images were better recalled than neutral ones, positive images were better recognized than neutral ones however neutral images were better recognized than negative ones. In Study 1, listening to white noise enhanced recall compared to listening to music. In Study 2, listening to arousing music enhanced recall compared to listening to white noise, and this effect was more pronounced in musicians than non-musicians. Our findings suggest that music has a great impact on memory, especially in those with experience in the field, which is reflected in cognitive performance. [ABSTRACT FROM AUTHOR]

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]

Music-related skills are not always an effect of systematic music education. Many music perception acquisitions develop naturally due to children’s exposure to melodic and rhythmical structures across their life. Experts found that even at very early stages of life, children are capable of identifying and differentiating musical structures. More so, they develop musical preferences closely related to certain biological features or certain emotional aspects regarding their relationship with their mother. The present study aims to review the latest findings associated to these musical skills that occur during the prenatal period and the first year of life. [ABSTRACT FROM AUTHOR]

Based on his academic background in multicultural music education and ethnomusicology, Huib Schippers developed the Seven-Continuum Transmission Model (SCTM) in 2004 to describe the teaching situations of world music. The current study adopted the SCTM as a framework to investigate Chinese music teachers' perceptions of context issues (tradition, authenticity, and context) and transmission modes (analytic/holistic, notation based/aural, and tangible/intangible) in world music teaching. Semi-structured in-depth interviews were conducted using a qualitative methodology with nine primary and secondary school music teachers from different provinces in China. This study found that Chinese music teachers' perceptions of context issues and transmission modes in world music teaching were more inclined to the formal, institutional settings rather than the informal, often community-based process. In addition, the music teachers were also influenced more by the "Eurocentrism" values; however, their perceptions were less affected by ethnomusicology that interprets human music from a cultural perspective and by multicultural music education. [ABSTRACT FROM AUTHOR]

The syllabi of the Primary Education degree include a compulsory subject related to basic aspects of music teaching. The purpose is to provide future generalist teachers with tools to use music as another didactic resource in the classroom. The main objective of this study is to analyze the self-perception of specific musical competences of the students of this subject., specifically in the Primary Education degree of the University of Barcelona. An evaluation of programs has been carried out through an ad hoc questionnaire, applied before and after the completion of the subject, to a sample of 72 students. The results obtained indicate the acquisition of basic musical skills by the students who did not have out-of-school musical knowledge, but there are some factors that could be improved, such as the low score in musical skills that require more time for their consolidation or the little evolution of the students who did have previous musical knowledge. Based on the analysis of the results, some proposals for improvement are made that may be applicable not only to the subject analyzed here but also to other subjects that work similar in other universities. [ABSTRACT FROM AUTHOR]

Morphological differences in the auditory brain of musicians compared to nonmusicians are often associated with life‐long musical activity. Cross‐sectional studies, however, do not allow for any causal inferences, and most experimental studies testing music‐driven adaptations investigated children. Although the importance of the age at which musical training begins is widely recognized to impact neuroplasticity, there have been few longitudinal studies examining music‐related changes in the brains of older adults. Using magnetic resonance imaging, we measured cortical thickness (CT) of 12 auditory‐related regions of interest before and after 6 months of musical instruction in 134 healthy, right‐handed, normal‐hearing, musically‐naive older adults (64–76 years old). Prior to the study, all participants were randomly assigned to either piano training or to a musical culture/music listening group. In five regions—left Heschl's gyrus, left planum polare, bilateral superior temporal sulcus, and right Heschl's sulcus—we found an increase in CT in the piano training group compared with the musical culture group. Furthermore, CT of the right Heschl's gyrus could be identified as a morphological substrate supporting speech in noise perception. The results support the conclusion that playing an instrument is an effective stimulator for cortical plasticity, even in older adults. [ABSTRACT FROM AUTHOR]

In order to study the role of generative adversarial network (GAN) in music generation, this article creates a convolutional GAN-based Midinet as a baseline model through the music generation process and creative psychological education and GAN principle. Additionally, it proposes a music generation model based on music theory rules and a chord-constrained GAN dual-track music generation model. Based on this model, a deep chord gated recurrent neural generative adversarial network (DCG_GAN) is proposed. The generated melodies are evaluated in both subjective and objective directions. The results show that the three evaluation indicators of DCG_GAN have the highest scores in the subjective evaluation. The average score given by ordinary listeners reaches 3.76 points, and the professional score reaches 3.58 points, which are 0.69 and 1.31 points higher than the baseline model, respectively. In the objective evaluation, DCG_GAN is improved by 8.075% in empty bars rate (EBR). The UPC (num_chroma_used) evaluation index value of the DCG_GAN model is improved by 0.52 compared with the baseline model. The qualified note ratio (QNR) evaluation index value is improved by up to 4.46% among the five audio tracks. The proposed overall style-based music generation model has superior performance in music generation. Both subjective and objective evaluations show that the generated music is more favored by the audience, indicating that the combination of deep learning and GAN has a great effect on music generation. [ABSTRACT FROM AUTHOR]

With the rapid growth of music and art education in colleges and universities today, the development of associated teaching quality assessment (TQE) is still in its infancy. In truth, most modern music and art education has yet to build a rigorous and appropriate evaluation system based on actual classroom teaching quality. Simply adopting classroom TQE indicators and approaches from other disciplines would unavoidably lead to formalization of music TQE findings in some schools and institutions. It has no bearing on evaluation, feedback, or advancement. Therefore, this paper uses the superior performance of neural network to solve nonlinear problems and constructs a music art TQE method based on convolutional neural network (CNN). The completed work is as follows: (1) The basic situation of domestic and foreign research on music art TQE is introduced. Several commonly used TQE methods at home and abroad are analyzed, and the CNN evaluation method is comprehensively introduced. (2) The principle and network structure of CNN are expounded, and a TQE system conforming to music art is constructed. (3) The final experimental results reveal that the CNN model has higher accuracy and better performance than the BP neural network when using the trained CNN, TQE model to conduct tests. [ABSTRACT FROM AUTHOR]

The present work aims to improve students' interest in music teaching and promote modern teaching. A distributed application system of artificial intelligence gesture interactive robot is designed through deep learning technology and applied to music perception education. First, the user's gesture instruction data is collected through the double channel convolution neural network (DCCNN). It uses the double-size convolution kernel to extract feature information in the image and collect the video frame's gesture instruction. Secondly, a two-stream convolutional neural network (two-stream CNN) recognizes the collected gesture instruction data. The spatial and temporal information is extracted from RGB color mode (RGB) images and optical flow images and input into the two-stream CNN to fuse the prediction results of each network as the final detection result. Then, the distributed system used by the interactive robot is introduced. This structure can improve the stability of the interactive systems and reduce the requirements for local hardware performance. Finally, experiments are conducted to test the gesture command acquisition and recognition network, and the performance of the gesture interactive robot in practice. The results indicate that combining convolution kernels of 5 × 5 and 7 × 7 can increase the recognition accuracy of DCCNN to 98% and effectively collect gesture instruction data. The gesture recognition accuracy of two-stream CNN after training reaches 90%, higher than the mainstream dynamic gesture recognition algorithm trained with the same data set. Finally, the recognition test of gesture instructions is carried out on the gesture interactive robot reported here. The results show that the recognition accuracy of the gesture interactive robots is more than 90%, meeting the routine interaction needs. Therefore, the interactive gesture robot has good reliability and stability and is applicable to music perception teaching. The research reported here has guiding significance for establishing music teaching with multiple perception modes. [ABSTRACT FROM AUTHOR]

Fifth-generation (5G) communication technology, with its high speed, low latency, and wide coverage, will open up new possibilities for the extension of online collaborative learning as the society improves with the times. The 5G era's intelligent information environment has begun to influence our way of life and work, and it has now spread to include our learning habits. In today's world, with the rapid advancement of computer and communication technologies, a big number of high-tech subjects in our traditional curriculum have had a considerable influence. This study proposes a method of integrating soft computing techniques to the advancement of music education to enhance the mental health of college students in the conditions of 5G in order to help music education stay updated with the progress trends of the periods in this modern generation. Conventional control techniques and new accurate mathematical model control approaches both fail to accurately assess students' mental health. To enhance the assessment impact of mental health of the students, this study uses an intelligent fuzzy system as the regulation center and offers an assessment method based on an improved fuzzy neural network to assess the impact of music instruction in boosting mental health of the students. When compared to standard ways, the system developed in this work has a better effect, according to the empirical research findings. [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]

In recent years, with the development of deep neural network becoming more and more mature, especially after the proposal of generative confrontation mechanism, academia has made many achievements in the research of image, video and text generation. Therefore, scholars began to use similar attempts in the research of music generation. Therefore, based on the existing theoretical technology and research work, this paper studies music production, and then proposes an intelligent music production technology based on generation confrontation mechanism to enrich the research in the field of computer music generation. This paper takes the music generation method based on generation countermeasure mechanism as the research topic, and mainly studies the following: after studying the existing music generation model based on generation countermeasure network, a time structure model for maintaining music coherence is proposed. In music generation, avoid manual input and ensure the interdependence between tracks. At the same time, this paper studies and implements the generation method of discrete music events based on multi track, including multi track correlation model and discrete processing. The lakh MIDI data set is studied. On this basis, the lakh MIDI is pre-processed to obtain the LMD piano roll data set, which is used in the music generation experiment of MCT-GAN. When studying the multi track music generation based on generation countermeasure network, this paper studies and analyzes three models, and puts forward the multi track music generation method based on CT-GAN, which mainly improves the existing music generation model based on GAN. Finally, the generation results of MCT-GAN are compared with those of Muse-GAN, so as to reflect the improvement effect of MCT-GAN. Select 20 auditees to listen to the generated music and real music and distinguish them. Finally, analyze them according to the evaluation results. After evaluation, it is concluded that the research effect of multi track music generation based on CT-GAN is improved. [ABSTRACT FROM AUTHOR]

In order to achieve fast and accurate music technique recognition and enhancement for vocal music teaching, the paper proposed a music recognition method based on a combination of migration learning and CNN (convolutional neural network). Firstly, the most standard timbre vocal music is preprocessed by panning, flipping, rotating, and scaling and then manually classified by vocal technique features such as breathing method, articulation method, pronunciation method, and pitch region training. Then, based on the migration learning method, the weight parameters obtained from the convolutional model trained on the sound dataset CNN are migrated to the sound recognition, and the convolutional and pooling layers of the convolutional model are used as feature extraction layers, while the top layer is redesigned as a global average pooling layer and a Softmax output layer, and some of the convolutional layers are frozen during training. The experimental results show that the average test accuracy of the model is 86%, the training time is about 1/2 of the original model, and the model size is only 74.2 M. The F1 values of the model are 0.88, 0.80, 0.83, and 0.85 in four aspects, such as breathing method, exhaling method, articulation method, and phonetic region training, etc. The experimental results show that the method is efficient for voice and vocal music teaching recognition. The experimental results show that the method is efficient, effective, and transferable for voice and vocal music teaching research. [ABSTRACT FROM AUTHOR]

Human beings are born with several abilities which are amenable to change. A growing number of studies have focused on the relations between musical and cognitive abilities but research with children from disadvantaged communities is scarce. This study explored the relations between musical and cognitive abilities in disadvantaged children. Participants were 169 children from deprived neighborhoods, attending the second year of primary education in public schools that do not offer music education. Children's musical abilities (perception) were measured with the Melody, Rhythm, and Memory tests of Montreal Battery for the Evaluation of Musical Abilities and their cognitive abilities, with five WISC-III subtests (Similarities, Vocabulary, Cubes, Picture Arrangement, and Digits). Parental level of education was obtained from a questionnaire on the socio-economic status of children's families. Results revealed (1) few and weak correlations between musical and cognitive abilities; (2) stronger correlations of Socioeconomic Status (SES) with cognitive than with musical abilities; (3) digit span predicts all musical abilities; 4) a clear factorial distinction between musical and cognitive abilities. Overall, results suggest that disadvantaged children's musical and cognitive abilities, as measured by the present instruments, are partly independent regarding processing components. [ABSTRACT FROM AUTHOR]

The study investigates Australian music teachers' approaches to teaching the post-tonal piano music of Béla Bartók, composed between 1908 and 1920 and included in the syllabi of four international music examining bodies in Australia. Despite the inclusion of Bartók's piano music in Australian instrumental music education syllabi, it is often overlooked by music studio teachers. The aim of the study is twofold: firstly, to gain a deeper understanding of what prevents teachers from engaging with his music and secondly, to examine the technical aspects of teaching this music to make Bartók's music more accessible to teachers and students. Data was collected from published analyses of Bartók's music, selected musical scores, two online surveys, a focus group discussion, and fifteen interviews. The study considers a pedagogical model that demonstrates how the identification of patterns and paradigms can be incorporated in the learning process to overcome perceived barriers in engaging with Bartók's post-tonal music. [ABSTRACT FROM AUTHOR]

This paper examines questions related to the 2014 Enade for Brazilian music education undergraduate programs. Therefore, this study's research questions are: how are Enade's 2014 questions regarding music majors organized in the test concerning their content and form? What is the relationship between the Enade 2014 and the Brazilian National Curricular Guidelines (DCNs) for Music undergraduate programs? The research approach for this study is document analysis (Peña-Vera & Pirela-Morillo, 2007) and seeks to understand the orientation in Enade's questions. With this aim, data was organized considering two dimensions: form and content. Findings suggest that a) questions are directed to one or another music career that is not, necessarily, addressed in all music education curricula; b) the questions are not fairly distributed among the three DCN axes, in which "specific content" axis prevails; c) some questions present contents often built on contextual constructs of musical or social biases, which may undermine the assessment reliability. Results show that the Enade 2014 is a test that requests from students only written knowledge, with or without the use of a music sheet. The previous does align with the guidelines of the music undergraduate program construction because they should be built on abilities and competencies. [ABSTRACT FROM AUTHOR]

Music education is an important means of quality education and plays an irreplaceable role in inducing all-round development of students. China's rural areas are weak areas for popularization of education. Music is a scarce subject in rural schools, but it is not a dispensable subject. Rural students should receive strict and formal education. Music education is important for cultivating students'physical and mental health and healthy thinking. The influences and feelings produced by, aesthetic taste, etc. cannot be replaced by other disciplines of education. Currently, music education in rural primary and secondary schools in Shaanxi province, China is restricted by various factors while still being far from achieving requirements of modern education. This research aims to study, investigate and analyse the current situation of music education in rural areas, highlight the problems in music education in rural area as well as proposing related solutions to promote the development of music education in rural Shaanxi province in China. To solve the problems of music education in rural primary and secondary schools in Shaanxi, it is necessary to increase the importance of leadership to music education in rural primary and secondary schools in Shaanxi, increase investment in music education in rural primary and secondary schools in Shaanxi, and innovate the training and supply mechanism of music teachers in rural primary and secondary schools in Shaanxi. [ABSTRACT FROM AUTHOR]

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]