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In today's fluid culture, fluid economy and fluid tourism, arts festivals fulfil various and sometimes conflicting functions, but surprisingly little scholarly attention has been paid to this issue. The concern of this note is consequently to fill in this void by specifically providing, exploring and critically examining the multifaceted culture of festivalisation in the urban context. In so doing, the current study draws on two case studies namely Mawazine Festival Rhythms of the World (MFRW) and Marrakech International Film Festival (MIFF). Accordingly, while this research note brings into focus how the concept of polysystem is useful for understanding the complex interactions between different cultural systems, it also argues that a polysystemic approach can help shed light on the complex dynamic interactions between systems and subsystems; and identify the various actors and forces that shape the production and reception of cultural events in the urban milieu. [ABSTRACT FROM AUTHOR]

This paper presents Norwegian adaptations of the KoMus and KOPRA-M assessments designed to evaluate music-related competencies. Our research delves into the assessments’ alignment with the curriculum and investigates the psychometric properties of the Norwegian versions using a sample of Norwegian fifth graders (KoMus: N  =  374, KOPRA-M: N  =  370). Furthermore, it provides practical illustrations of how these item response theory (IRT)–based assessments can be employed, including competency-level examples. The Norwegian short versions of the KoMus and KOPRA-M tests demonstrated robust psychometric characteristics (especially in terms of reliability, model, and item fit), making them promising instruments for the deeper exploration of musical competency within primary and lower secondary school contexts. [ABSTRACT FROM AUTHOR]

To enhance the precision of the music recommendation environment system, a novel design approach has been introduced, utilizing multi-label propagation and hierarchical clustering analysis for a dual music recommendation environment. First of all, the process model of music recommendation environmental system is built based on music recognition system, which is composed of music signal preprocessing module, music model, sound model and music recognizer; second, on the basis of further study on the clustering validity, a new clustering validity function is established by describing the intra-class compactness and inter-class separation of clustering through fuzzy similarity relation; finally, the validity of the proposed music double recommendation environmental system using multi-label propagation hierarchical clustering analysis is verified by simulation experiment. The results show that the recommendation method based on comprehensive evaluation of user characteristics is suitable for single-category users, while the recommendation method based on multi-category evaluation is suitable for multi-category users. This approach offers an effective and precise means to enhance the accuracy and customization of music recommendation systems, thereby increasing user satisfaction. [ABSTRACT FROM AUTHOR]

With the rapid development of music digitization and online streaming services, automatic analysis and classification of music content has become an urgent need. This research focuses on music sentiment analysis, which is the identification and classification of emotions expressed by music through algorithms. The study defines and classifies possible emotions in music. Then, advanced artificial intelligence techniques, including traditional machine learning and deep learning methods, were employed to perform sentiment analysis on music fragments. In the process of creating and validating the model, the combination of convolutional neural network and long term memory network shows excellent performance in various performance indicators. However, for some complex or culturally ambiguous music fragments, the model may also suffer from misclassification problems. This provides the direction for further optimization of future research aimed at achieving more accurate music emotion analysis. [ABSTRACT FROM AUTHOR]

With the development of technology, fuzzy control algorithm is applied more and more widely in various fields. In the field of music culture dissemination and teaching management, this advanced algorithm opens up new possibilities for the creation, analysis and promotion of music. This study first discusses the basic theory and characteristics of fuzzy control algorithm, and then analyzes its specific application and potential value in music culture communication and teaching management. Through experimental verification, this paper reveals how fuzzy control algorithm plays a key role in music teaching evaluation, curriculum design and student interaction. In addition, the application of this algorithm in the intelligent classification, recommendation and analysis of music content is also studied. After comprehensive analysis, this paper summarizes the advantages and limitations of fuzzy control algorithm in the field of music, and puts forward suggestions for its future research and application. [ABSTRACT FROM AUTHOR]

"The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses" by Joseph N. Straus is a pedagogical book that provides analyses of musical excerpts and short works by various composers from 1909 to 2016. The book includes videos that animate the graphic analyses, enhancing understanding. The analyses focus on pitch relationships and transformations in post-tonal music. The book also includes a "Post-Tonal Primer" covering key concepts. Volume 2 analyzes all of Tenney's music, excluding his juvenilia and compositions discussed in volume 1, and is recommended as a selective listening guide. Volume 1 explores Tenney's formative influences and his involvement with tape music, including his influential master's thesis on musical form. [Extracted from the article]

Joanna Bullivant's monograph, "Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc," is a comprehensive study of composer Alan Bush and his work. The book challenges the assumption that Bush blindly followed communist dictates and instead portrays him as an active and thoughtful interpreter and commentator. Bullivant's research draws from personal papers, critical reception, and published articles, offering a reassessment of Bush's contributions to music. The text also briefly mentions two other books related to music, including a reassessment of Bush's work and a book on post-tonal analysis by Joseph N. Straus. [Extracted from the article]

A research team of five music librarians interviewed twenty-six postsecondary music faculty and instructors to uncover their perceptions of students' information literacy skills, including perceived skill gaps and opportunities for collaboration with librarians. This qualitative study was conducted to inform the creation of the Music Companion to the Framework for Information Literacy but also revealed a number of broader trends and patterns music librarians can use to communicate effectively with music instructors about the scope and value of Framework-based music information literacy instruction. Using a thematic analysis approach, the researchers discuss three major themes that emerged from the interviews: disciplinary value placed on the dispositions of curiosity and intrinsic motivation, understanding of information literacy definitions and associations, and paradigm shifts in the field, all of which suggest avenues for outreach and collaboration with instructors. This paper explains the thematic findings of the study, highlighting music-specific information literacy knowledge and skills as well as attitudes and understandings in the field. [ABSTRACT FROM AUTHOR]

The article focuses on Derek Healey's choral collection "A Posy for the Christ Child" and its significance in the Christmas choral cycle genre. Topics include Healey's stylistic shift from modernist to modal and folk-based compositions, the diverse poetic sources and inspirations behind the work, and the detailed musical analysis of the carols within the collection.

Auditory scene analysis (ASA) is the process through which the auditory system makes sense of complex acoustic environments by organising sound mixtures into meaningful events and streams. Although music psychology has acknowledged the fundamental role of ASA in shaping music perception, no efficient test to quantify listeners' ASA abilities in realistic musical scenarios has yet been published. This study presents a new tool for testing ASA abilities in the context of music, suitable for both normal-hearing (NH) and hearing-impaired (HI) individuals: the adaptive Musical Scene Analysis (MSA) test. The test uses a simple 'yes–no' task paradigm to determine whether the sound from a single target instrument is heard in a mixture of popular music. During the online calibration phase, 525 NH and 131 HI listeners were recruited. The level ratio between the target instrument and the mixture, choice of target instrument, and number of instruments in the mixture were found to be important factors affecting item difficulty, whereas the influence of the stereo width (induced by inter-aural level differences) only had a minor effect. Based on a Bayesian logistic mixed-effects model, an adaptive version of the MSA test was developed. In a subsequent validation experiment with 74 listeners (20 HI), MSA scores showed acceptable test–retest reliability and moderate correlations with other music-related tests, pure-tone-average audiograms, age, musical sophistication, and working memory capacities. The MSA test is a user-friendly and efficient open-source tool for evaluating musical ASA abilities and is suitable for profiling the effects of hearing impairment on music perception. [ABSTRACT FROM AUTHOR]

This research paper delves into the intricate role of music as a symbolic form in Pascal Quignard's novel Tous les matins du monde, exploring its capacity to convey profound human emotions and experiences. Set against the backdrop of 17th-century France, the narrative follows the lives of Monsieur de Sainte Colombe and Marin Marais, renowned viola da gamba players, to contemplate the essence of music and its representation of human sentiment. The paper examines the semiotic nature of music, its relationship with memory and emotion, and the philosophical inquiry into music's intrinsic value as an art form. It also discusses the novel's adaptation into a film and its impact on the revival of Baroque music. Furthermore, the paper draws parallels between the myth of Orpheus and the characters' personal journeys, highlighting the transformative power of music and its ability to transcend reality. The analysis is grounded in the works of various scholars, including Ferdinand de Saussure, Suzanne Langer, and Charles Sanders Peirce, to provide a comprehensive understanding of music's symbolic essence in Quignard's literary creation. [ABSTRACT FROM AUTHOR]

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music Journal 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 Gênero e Interdisciplinaridade is the property of Instituto de Ensino e Pesquisa Periodicojs 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 paper explores how a contemporary music video can pass down memories and trauma in post-dictatorial Chile. Focusing on a video by the Chilean band Illapu, it uses theories of collective trauma and (post)memory to show how the video represents past traumas and challenges dominant narratives and current negationist discourses. The study finds that the video uses audio-visual and (inter)textual elements to make viewers reflect on the past, underlining its ability to counter attempts to deny or distort history. This contributes to understanding how music videos can serve as sites of “voiced postmemories” and act as powerful tools in the collective processing of traumatic events, promoting truth, justice, and reconciliation in post-dictatorial Chile. [ABSTRACT FROM AUTHOR]

Schoenberg's understanding of the value and function of music analysis is difficult to pin down. As such, the secondary literature has tended to focus on the technical aspects of his extant analyses. While salutary in many respects, this preoccupation risks divesting Schoenbergian analysis of its underlying concerns. This essay therefore explores the wider network of ideas in which Schoenberg's analytical practice is grounded. I show his understanding of analysis to be delineated by three contrasting perspectives. The tensions that emerge between these perspectives may be reconciled within a single epistemological framework that outlines the prospects for and limitations of analytical enquiry. This model of analysis is illustrated by a case study of Schoenberg's 1932 radio discussion of 'Seraphita', Op. 22 No. 1. In these ways, the article not only expands and clarifies our understanding of Schoenberg's analytical thinking, but also poses provocative challenges for the analysis of his music. [ABSTRACT FROM AUTHOR]

Acoustic depth is an elusive indicator that touches the world of emergencies, or perceptual focus, in a peculiar way. The realm in which these forms of recognition operate indeed links media theory to perception theory and aesthetic reflection. Expressions such as acoustic scene, sound depth or sharpness, or acoustic image when discussing the receptive forms of various microphone models, are just a few cases where imaginative synthesis translates the sense of phenomena arising from the resistance of sensory properties to the structures of linguistic formalization. The language of media is full of these references, which seem to refer to a common sense that emerges in the differentiation of perceptual channels, but is rarely made explicit in a clear manner. To understand acoustic depht's nature, we can use the concept of emergence: every time we hear a sound, that acoustic process is always surrounded by a myriad of small sounds that interact with it. The notion of emergence can be applied to anything present in the surrounding environment. It can be applied to any configuration that breaks the homogeneity of a perceptual field. So, we can analyze the complexity of this synthetic formation by tracing it back to increasingly simpler synthetic planes. When talking about composition, synthesis, and association, it has already the results of compositional operations and which provided the ultimate or primary material – either term suffices, depending on the direction we choose to take. These are essential factors in spatial orientation processes, but they are structurally opaque: we'll work on three examples taken from classical music, ethnomusicology, and hearing aids. [ABSTRACT FROM AUTHOR]

With the development of Internet technology, music videos on the network are becoming increasingly rich. How to extract concert video clips for specific scenes or shots from massive video libraries or ultra-long video files is a relatively difficult issue. Traditional music video retrieval methods are mostly based on key text retrieval. However, they cannot meet the needs of users. At the same time, in response to the demand for specific videos in piano performance teaching, it is also difficult for these methods to filter out key music clips from numerous videos. Therefore, a music video retrieval technology is constructed based on video feature similarity calculation. Aiming at the shortcomings of video similarity calculation methods, a dynamic programming algorithm is used to improve it. The improved music video retrieval technology is applied to the classroom learning practice of piano performance teaching, verifying the actual effect of this technology. The experimental results show that the accuracy of the music video retrieval technology reaches 91.02%. After being applied to piano classroom teaching, the overall performance of students has been improved. This shows that the proposed music video retrieval technology can effectively achieve the retrieval of required videos and improve the effectiveness of piano classroom teaching. [ABSTRACT FROM AUTHOR]

Acoustic depth is an elusive indicator that touches the world of emergencies, or perceptual focus, in a peculiar way. The realm in which these forms of recognition operate indeed links media theory to perception theory and aesthetic reflection. Expressions such as acoustic scene, sound depth or sharpness, or acoustic image when discussing the receptive forms of various microphone models, are just a few cases where imaginative synthesis translates the sense of phenomena arising from the resistance of sensory properties to the structures of linguistic formalization. The language of media is full of these references, which seem to refer to a common sense that emerges in the differentiation of perceptual channels, but is rarely made explicit in a clear manner. To understand acoustic depht’s nature, we can use the concept of emergence: every time we hear a sound, that acoustic process is always surrounded by a myriad of small sounds that interact with it.

The aim of this study is to analyze the beginning of different dance tunes in connection with variously performed dance tunes. The purpose of this paper is also to draw attention to the need for micro-analysis, which has been neglected for a long time in instrumental folk music research, in order to better understand instrumental musical melody creation. The selected musical examples come from different (partly historical) eras and different geographical areas of Western Transdanubian and Transylvanian Hungarian folk music collections. Typical starting elements (fifth-forth changes, direction of moving of scales, etc.) are related to dance music with different names. The analysis ignores the evolution of tempo and variation throughout the piece, as well as the ensemble's "Primas" ornamentation, timbre, harmonies and unique solutions of the accompaniment. At the same time, the author paid attention to the form and structure of the entire piece in addition to the beginnings of the melody. The study was written in honor of the 100th birthday of Walter Deutsch, the creator of modern Austrian ethnomusicology. [ABSTRACT FROM AUTHOR]

It is well known that the 52 concertos for keyboard(s) or other solo instruments of Carl Philipp Emanuel Bach constitute a repertoire that crosses the borderline of Baroque and Classic eras from both a chronological and a stylistic point of view. However, their analogous position concerning the Baroque ritornello form and the various Classic concerto-sonata types is not yet as clear as it should be, since most scholars tend to examine and classify these works in a rather one-sided way, basing their views either on the earlier ritornello form or on both theory and practice of (only) the late eighteenth-century concerto, thus ignoring many important aspects of formal design in Bach's concerto movements in particular. The present paper submits the findings of a comprehensive research on Bach's whole concerto output, clearly distinguishing between movements in ritornello and concerto-sonata forms; furthermore, it highlights the impressive variety of concerto-sonata structural types that Bach uses in his works: ternary but also binary sonata forms with five, four, or three ritornellos, the specific role and function of which (and especially of the intermediate ones) cannot be always restricted to the specifications of even the most recent (and seemingly all-embracing) related typologies. [ABSTRACT FROM AUTHOR]

At present, the evaluation of the implementation effect of the music teaching reform project is a hot topic. This project establishes a teaching reform implementation effect evaluation model based on improving the accuracy of teaching reform plan effectiveness evaluation. This project first analyzes the current research status of the impact evaluation of the implementation of music education reform projects and builds a set of evaluation systems. The evaluation method of teaching reform plan implementation effect based on a "big data-driven - support vector machine" was constructed. The simulation experiment verifies that this method can evaluate the implementation of the teaching reform plan well. The relative error of the evaluation results is small. It is practical in improving the effectiveness evaluation of the teaching reform plan. After verification, it is found that the research results of this project are feasible. [ABSTRACT FROM AUTHOR]

In our previous paper, we examined the genesis of the choral work, its textual and musical sources, the intellectual and cultural influences that may have played a role in its creation. Starting from this complex ideological background, in this paper we will examine, through a detailed analysis of the score, how the composition's structure, musical language and techniques bring the text to life, where its message is directed, and what additional conceptual and expressive value they provide. The Gates of Sky is, in a certain reading, a cultural-anthropological journey, partly based on historical references, partly mythical. However, its rich musical language and symbolic meanings only gain significance if they are combined with a suitable and convincing sound dramaturgy. For the author's basic aim is not merely to evoke a ritual, but to give the performers and the audience the opportunity to experience the metamorphosis it embodies. [ABSTRACT FROM AUTHOR]

Film historians have long known that the version of Carl Theodor Dreyer's La Passion de Jeanne d'Arc (1928) shown at its French premiere was heavily censored by the state and the Catholic church. Exactly what was cut, however, has never been entirely clear, meaning that almost all of the critical literature about the subject has been forced to accept the testimony of those who claim to have seen it at the time. An overlooked source that would help resolve the debate is the score commissioned for its Paris premiere. It includes vital evidence in the form of intertitles and actions that correspond to a print acquired by the British Film Institute in 1947. A detailed comparison of screen and musical time convincingly demonstrates that the 1947 print is a copy of the censored version, and a broader analysis of empathetic musical gesture and specially written lyrics for choir and soloists supports that contention. This analysis underlines the valuable contribution that film-music studies can make to film history in helping reveal for the first time exactly what it was to which the authorities objected in Dreyer's famous film. [ABSTRACT FROM AUTHOR]

This article explores how a composer's working materials can contribute to the analysis of musical meaning. Using examples of Ligeti's sketches for his late works, I demonstrate how they can support familiar interpretations as well as catalyzing novel understandings. In particular, Ligeti's prose notes, or "jottings" provide a jumping off point for hermeneutic analysis. Although the sheer amount of information provided in the jottings can be paralyzing, I explore how the material can nevertheless, when used cautiously, contribute insights. I draw upon Foucault's distinction between author-function and historical figure to frame two possible roles for the sketch materials. In my first two case studies, I frame the sketches as reflecting the author-function by amplifying a grotesque aesthetic associated with Ligeti's late works. Examining manipulations of a hunt topic in the sketches for the Hamburg Concerto and of a specific Hungarian folk melody across the two versions of the Violin Concerto, I show how the composer consciously distorted conventional musical topics to produce a distanced or ironic effect. In my third and fourth case studies, I explore the sketches as records of the historical figure of Ligeti. I outline two problematic cases in which his preliminary notes or jottings are at odds with his public pronouncements: the opening of "Spectra" from Ligeti's Hamburg Concerto, and passages of the Piano Concerto. Tensions between sketch evidence and published remarks lead me to explore the underlying ideologies of Ligeti's avant-garde aesthetic. [ABSTRACT FROM AUTHOR]

As many young Jews grow increasingly alienated from Zionist narratives, some have found a space for expressions of diasporism and solidarity with Palestinians in the international Yiddishist music scene. This article examines four twenty-first century Yiddish songs that refer to the Israeli-Palestinian conflict and express solidarity with Palestinians: "Ver Tantzt" by Black Ox Orkestar, "Dumai" by Daniel Kahn, "A shtik fun harts" by Josh Waletzky and Michael Winograd, and "Qibya" by Koyt far dayn fardakht. These songs were compiled by the authors as part of the group "Yiddishist with Palestine," an online gathering of Yiddishist activists that started during the 2021 Gaza war, discussing strategies for expressing solidarity with Palestinians in Yiddishist communal spaces. Through textual, contextual, and musical analysis, and drawing on theories of diaspora and diasporism, the article explores the various ways these songs express Jewish solidarity with Palestinians. [ABSTRACT FROM AUTHOR]

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of 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.)

This work begins with an exploration of various analytical techniques for discerning and describing details of vocal performance in the song "Episodes," from Philadelphia Hip Hop group The Roots' 1996 album, Illadelph Halflife. I pair this musical analysis with textual exegesis drawing on narratology and speech act theory. Reconciling the two analytical approaches, I conclude by suggesting a refreshed notion of affective realism in late twentieth-century Hip Hop, characterized by consistency between poetic, phonetic, illocutionary, and performative dynamics in rap verse. [ABSTRACT FROM AUTHOR]

Gayaki in sitar was historically associated with Ustad Vilayat Khan and the Etawah gharana. However, its influence has now expanded across all sitar traditions. This study aims to explore the use of gayaki in sitar music from various gharanas beyond those traditionally known for playing gayaki ang. The research involved collecting audio samples from performances by artists across different sitar traditions. The methodology included manual listening and transcription of the audio samples, followed by a detailed analysis of structural patterns and stylistic nuances. The study found that complex phrasing and expressive techniques are essential for creating the vocal-like quality of gayaki ang in sitar performances. A comparative analysis across different gharanas revealed the widespread integration of gayaki ang while preserving each tradition's distinctive attributes. The findings highlight the lasting impact of gayaki ang on sitar music, emphasizing its vital role in shaping the emotive and artistic richness of performances. Additionally, the research underscores the ongoing evolution and innovation within the sitar tradition as musicians skillfully combine technical proficiency with emotional depth, contributing to the expansion of the sitar's musical language and offering new insights into the changing landscape of Indian classical music. [ABSTRACT FROM AUTHOR]

Enhancing user experience in music listening through facial emotion recognition presents a novel avenue for curating personalized song playlists, obviating the need for traditional search methodologies like keyword inputs or manual playlist exploration. This research pivots towards leveraging advanced pre-trained models, specifically ResNet18 and VGG19, for the accurate detection and analysis of listeners' emotions via facial expressions. By integrating these models with the Facial Emotion Recognition (FER) 2013, and The Extended Cohn-Kanade Dataset (CK+) dataset, our study aims to precisely identify a range of emotions including happiness, anger, sadness, surprise, disgust, and neutrality. In parallel, we employ Support Vector Machine (SVM) and Linear Discriminant Analysis (LDA) techniques to discern musical emotions from Spotify's dataset, encompassing moods such as happiness, sadness, energy, and calmness. A unique set of rules is formulated to amalgamate the insights from facial emotion recognition with musical emotion data, facilitating the automated suggestion of playlists that resonate with the user's current emotional state. Our experiments demonstrate notable results with the ResNet18 model achieved 72.67% accuracy and a 72.30% F1 score on the FER2013 dataset, with significant improvements on the CK+ dataset, reaching 96.97% accuracy and a 96.60% F1 score. The VGG19 model similarly excelled, particularly on the CK+ dataset with 95.96% accuracy and a 96.60% F1 score. On the FER2013 dataset, the VGG19 model achieved an accuracy of 72.64%, and an F1 score of 72.60%. Our music emotion recognition approach, using SVM on Spotify's dataset, achieved an 86.96% accuracy and an 84.54% F1 score. When using the LDA model on the same dataset, the accuracy was 79.00% and an F1 score of 76.72%. To bring this concept to fruition, we have developed an intuitive web application that allows users to capture their facial expressions via their device's camera, subsequently offering song recommendations tailored to their detected mood. [ABSTRACT FROM AUTHOR]

Time signature detection is a fundamental task in music information retrieval, aiding in music organization. In recent years, the demand for robust and efficient methods in music analysis has amplified, underscoring the significance of advancements in time signature detection. In this study, we explored the effectiveness of residual networks for time signature detection. Additionally, we compared the performance of the residual network (ResNet18) to already existing models such as audio similarity matrix (ASM) and beat similarity matrix (BSM). We also juxtaposed with traditional algorithms such as support vector machine (SVM), random forest, K-nearest neighbor (KNN), naive Bayes, and that of deep learning models, such as convolutional neural network (CNN) and convolutional recurrent neural network (CRNN). The evaluation is conducted using Mel-frequency cepstral coefficients (MFCCs) as feature representations on the Meter2800 dataset. Our results indicate that ResNet18 outperforms all other models thereby showing the potential of deep learning models for accurate time signature detection. [ABSTRACT FROM AUTHOR]

Audio classification using deep learning models, which is essential for applications like voice assistants and music analysis, faces challenges when deployed on edge devices due to their limited computational resources and memory. Achieving a balance between performance, efficiency, and accuracy is a significant obstacle to optimizing these models for such constrained environments. In this investigation, we evaluate diverse deep learning architectures, including Convolutional Neural Networks (CNN) and Long Short-Term Memory (LSTM), for audio classification tasks on the ESC 50, UrbanSound8k, and Audio Set datasets. Our empirical findings indicate that Mel spectrograms outperform raw audio data, attributing this enhancement to their synergistic alignment with advanced image classification algorithms and their congruence with human auditory perception. To address the constraints of model size, we apply model-compression techniques, notably magnitude pruning, Taylor pruning, and 8-bit quantization. The research demonstrates that a hybrid pruned model achieves a commendable accuracy rate of 89 percent, which, although marginally lower than the 92 percent accuracy of the uncompressed CNN, strikingly illustrates an equilibrium between efficiency and performance. Subsequently, we deploy the optimized model on the Raspberry Pi 4 and NVIDIA Jetson Nano platforms for audio classification tasks. These findings highlight the significant potential of model-compression strategies in enabling effective deep learning applications on resource-limited devices, with minimal compromise on accuracy. [ABSTRACT FROM AUTHOR]

The 'affective domain' supports students' moral development, shaping their character. The research aims to investigate the music learning process in Indonesia, the Netherlands, and France and determine its contribution to the affective domain. The study adopted a mixed methods approach with sequential designs. In the first phase, qualitative data were collected through observations of learning processes as well as through interviews and document analysis. These qualitative data informed the development and administration of instruments for the second phase that measured aspects of the music learning process expected to contribute to the affective domain. Based on the analysis of 74 music learning processes, this research showed differences between the three countries in song choices and methods for developing the affective domain through music learning. Song choices in the Netherlands and France were based on the song's potential to touch students' feelings, while those used in Indonesia were selected to build moral character and foster national pride. In the Indonesian music learning context, persuasion and intervening were predominant methods - as they were (although to a lesser extent) in France. In contrast, the Netherlands made greater use of inculcation and, along with France, habituation. [ABSTRACT FROM AUTHOR]

The cerebellum is involved in cognitive procressing including music perception and music production. This narrative review aims to summarize the current knowledge on the activation of the cerebellum by different musical stimuli, on the involvement of the cerebellum in cognitive loops underlying the analysis of music, and on the role of the cerebellum in the motor network underlying music production. A possible role of the cerebellum in therapeutic settings is also briefly discussed. In a second part, the cerebellum as object of musicology (i.e., in classical music, in contemporary music, cerebellar disorders of musicians) is described. [ABSTRACT FROM AUTHOR]

Feature extraction is a crucial component in the analysis of piano music signals. This article introduced three methods for feature extraction based on frequency domain analysis, namely short-time Fourier transform (STFT), linear predictive cepstral coefficient (LPCC), and Mel-frequency cepstral coefficient (MFCC). An improvement was then made to the MFCC. The inverse MFCC (IMFCC) was combined with mid-frequency MFCC (MidMFCC). The Fisher criterion was used to select the 12-order parameters with the maximum Fisher ratio, which were combined into the F-MFCC feature for recognizing 88 single piano notes through a support vector machine. The results indicated that when compared with the STFT and LPCC, the MFCC exhibited superior performance in recognizing piano music signals, with an accuracy rate of 78.03 % and an F1 value of 85.92 %. Nevertheless, the proposed F-MFCC achieved a remarkable accuracy rate of 90.91 %, representing a substantial improvement by 12.88 % over the MFCC alone. These findings provide evidence for the effectiveness of the designed F-MFCC feature for piano music signal recognition as well as its potential application in practical music signal analysis. [ABSTRACT FROM AUTHOR]

In this article we intend to present some aspects related to the origin of the concept of heterophony and the theoretical concerns of some Romanian and foreign composers on this subject. As a practical application model, we present an analysis of a musical text based on the model proposed by Teodor Tutuianu in his book Eterofonii in partituri Bachiene, the book underlying the Spectromorphy course that the author, as a professor, held at the National University of Music in Bucharest. [ABSTRACT FROM AUTHOR]

Copyright of Forschungsjournal Soziale Bewegungen is the property of De Gruyter 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 Journal of Turkish Music (TM) / Türk Müziği is the property of Young Wise Publishing 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 compare preservice music teachers' self-reflections about their teaching from two perspectives: immediate reflection and video reflection. Preservice music teachers' reflections were analyzed, and 22 codes emerged. Our analysis of the preservice music teachers' reflections found that the 22 codes aligned with self, task, and student impact concerns as outlined by Fuller and Bown (1975). Preservice music teacher reflections focused primarily on task concerns (1,137), followed by self-concerns (441) and student impact concerns (343). A significant difference was found between immediate and video reflections for self-concerns (W = −98 p =.02) but not for task or student impact concerns. Self-concerns about musical leadership, teacher talk, and teacher delivery were mostly noted following video reflections, while concerns of student engagement, student success, teaching strategies, student assessment, and feedback were referenced immediately following their lesson. [ABSTRACT FROM AUTHOR]

We present in this paper some of the existing machine learning and sound processing techniques involved in the medical process and show how they can be applied in the context of a vocal disease detection task. The machine learning techniques are the usual, ranging from decision trees to neural networks, and when it comes to the sound processing approaches some scientists probably are familiar with them from the speech processing or music analysis areas. However, the techniques are adapted to the particularities of the medical field - data collection, verification, etc. Through the concrete example of the vocal disease detection task we worked on, we made some interesting observations, both on the classification ability of the model and on the influence of the data. [ABSTRACT FROM AUTHOR]

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 in the Flesh: An Early Modern Musical Physiology" by Bettina Varwig challenges the dominant musicological theory of German Baroque music known as Affektenlehre. Varwig argues that scholars need to move beyond the idea of music as representation and instead focus on the embodied experience of music. The book explores how early music shaped and was shaped by the bodies of performers and audiences, with a particular emphasis on the German lands and Lutheranism. Varwig's work combines analysis of music, theology, and medicine, making it relevant for those interested in early modern Germany. [Extracted from the article]

"The Music of James Tenney" by Robert Wannamaker is a two-volume study of the life and work of composer James Tenney. The first volume provides a chronological overview of Tenney's stylistic periods and focuses on three key concerns in his career: a rejection of musical self-expression, the use of "top-down" compositional designs, and an interest in the interplay of rational structures and bodily sensations. The second volume analyzes all of Tenney's music, providing a listening guide for readers. Wannamaker's analyses encourage readers to explore different listening experiences and offer insights into Tenney's unique body of work. [Extracted from the article]

Stephen Rodgers has written a book titled "The Songs of Clara Schumann" that explores the nature of song analysis and its role in music theory. Rodgers focuses on three hallmarks of Clara Schumann's songs: the flow of her melodies, cadential evasion, and inventive use of the piano. He also discusses the importance of analyzing Schumann's songs on their own terms and the potential for new methods of analysis for music by women. Rodgers's book offers a holistic account of Schumann's songs and invites readers to engage with the music and develop their own interpretations. [Extracted from the article]

This article discusses a collection of essays on early sound recordings, edited by Eva Moreda Rodríguez and Inja Stanović. The book explores the field of early recordings and their role as sources in musicological research. The essays cover a range of topics, including cultural history, practice-based research, and music analysis. The editors have done a remarkable job of building an academic community around early recordings, and the book provides valuable insights into classical music practices in the late nineteenth and early twentieth centuries. The accompanying website includes audio examples that support the chapters. However, the physical quality of the book received by the reviewer was poor. [Extracted from the article]