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Aguilar, Ananay. "Distributed Ownership in Music." Social & Legal Studies 27, no. 6 (2017): 776–98. http://dx.doi.org/10.1177/0964663917734300.
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Following criticisms of British copyright law that it is influenced by Romantic ideals of authorship, I ask whether it makes sense to distinguish between music composers and performers in law. Drawing on interviews with classical and popular music performers and relevant case law, I examine how performers negotiate and exploit different rights in order to determine ownership. Evidence suggests that rather than a binary, musicians’ creative work can best be represented as moving along a continuum between composition and performance with both concepts socially much in use. Musicians position their work on this continuum according to three motifs: composer–performer discourses and careers, genre and power relationships. I argue that the legal categories of joint or individual authorship, adaptation and performance protect most contributions to a musical work and align with the social understandings of different types of contributions. Yet I also note that, viewed more normatively, a recasting of the rights could help shift those social understandings and alter the inequalities inherent in both musical practices and the law.
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Krasnoskulov, Alexei V. "Distributed Performance: Principles, Space, Communication." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2015): 28–32. http://dx.doi.org/10.17674/1997-0854.2015.1.18.028-032.
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Teniswood-Harvey, Arabella. "Presence, absence, distance and intimacy: How do virtual classical music concerts rate against the wonders of the musical metaverse?" Virtual Creativity 13, no. 1 (2023): 29–47. http://dx.doi.org/10.1386/vcr_00073_1.
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Disruptions to live performance caused by the recent pandemic have fuelled a surge in virtual concerts, impacting both classical and popular music. This article explores ways in which audio-visual media have been used during the pandemic to maintain the live performance of classical music, through comparison with recent examples of virtual creativity in popular music (including performances by virtual artists in virtual spaces, Vocaloid and holographic concerts). Insights into audience experience are revealed: the benefits of engaging with music performance through online platforms include opportunities for social interaction, agency and an enhanced sense of community. Yet this participatory approach challenges the attentive listening mode embedded in the long-held conceptualization of classical music, and the new modes of performance and communication challenge established beliefs about the superiority of live performance over recording. Opportunities for creativity and audience experience and development are found in the notions of distributed creativity, distributed listening and the democratization of culture that are embedded in many of the practices of virtual music concerts. Analysing scholarly literature, music criticism, commentary and selected case studies, the article explores these ideas and opportunities through four episodes entitled to capture prominent themes: presence, absence and distance, intimacy and wonder.
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Shapiro, R. Benjamin, Annie Kelly, Matthew Ahrens, Ben Johnson, Heather Politi, and Rebecca Fiebrink. "Tangible Distributed Computer Music for Youth." Computer Music Journal 41, no. 2 (2017): 52–68. http://dx.doi.org/10.1162/comj_a_00420.
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Computer music research realizes a vision of performance by means of computational expression, linking body and space to sound and imagery through eclectic forms of sensing and interaction. This vision could dramatically influence computer science education, simultaneously modernizing the field and drawing in diverse new participants. In this article, we describe our work creating an interactive computer music toolkit for youth called BlockyTalky. This toolkit enables users to create networks of sensing devices and synthesizers, and to program the musical and interactive behaviors of these devices. We also describe our work with two middle-school teachers to codesign and deploy a curriculum for 11- to 13-year-old students. We draw on work with these students to evidence how computer music can support learning about computer science concepts and change students' perceptions of computing. We conclude by outlining some remaining questions around how computer music and computer science may best be linked to provide transformative educational experiences.
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Seo, Jiho, Jonghyeok Lee, Jaehyun Park, Hyungju Kim, and Sungjin You. "Distributed Two-Dimensional MUSIC for Joint Range and Angle Estimation with Distributed FMCW MIMO Radars." Sensors 21, no. 22 (2021): 7618. http://dx.doi.org/10.3390/s21227618.
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To estimate range and angle information of multiple targets, FMCW MIMO radars have been exploited with 2D MUSIC algorithms. To improve estimation accuracy, received signals from multiple FMCW MIMO radars are collected at the data fusion center and processed coherently, which increases data communication overhead and implementation complexity. To resolve them, we propose the distributed 2D MUSIC algorithm with coordinate transformation, in which 2D MUSIC algorithm is operated with respect to the reference radar’s coordinate at each radar in a distributed way. Rather than forwarding the raw data of received signal to the fusion center, each radar performs 2D MUSIC with its own received signal in the transformed coordinates. Accordingly, the distributed radars do not need to report all their measured signals to the data fusion center, but they forward their local cost function values of 2D MUSIC for the radar image region of interest. The data fusion center can then estimate the range and angle information of targets jointly from the aggregated cost function. By applying the proposed scheme to the experimentally measured data, its performance is verified in the real environment test.
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Gibson, Ian. "A Wireless, Real-time, Distributed Music Composition and Performance System." International Journal of the Arts in Society: Annual Review 5, no. 1 (2010): 303–10. http://dx.doi.org/10.18848/1833-1866/cgp/v05i01/35814.
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Stapleton, Paul, and Tom Davis. "Ambiguous Devices: Improvisation, agency, touch and feedthrough in distributed music performance." Organised Sound 26, no. 1 (2021): 52–64. http://dx.doi.org/10.1017/s1355771821000054.
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This article documents the processes behind our distributed musical instrument, Ambiguous Devices. The project is motivated by our mutual desire to explore disruptive forms of networked musical interactions in an attempt to challenge and extend our practices as improvisers and instrument makers. We begin by describing the early design stage of our performance ecosystem, followed by a technical description of how the system functions with examples from our public performances and installations. We then situate our work within a genealogy of human–machine improvisation, while highlighting specific values that continue to motivate our artistic approach. These practical accounts inform our discussion of tactility, proximity, effort, friction and other attributes that have shaped our strategies for designing musical interactions. The positive role of ambiguity is elaborated in relation to distributed agency. Finally, we employ the concept of ‘feedthrough’ as a way of understanding the co-constitutive behaviour of communication networks, assemblages and performers.
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Simmons, Amy L. "Distributed Practice and Procedural Memory Consolidation in Musicians’ Skill Learning." Journal of Research in Music Education 59, no. 4 (2011): 357–68. http://dx.doi.org/10.1177/0022429411424798.
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This research was designed to determine whether musicians’ learning is affected by the time intervals interposed between practice sessions. Twenty-nine non-pianist musicians learned a 9-note sequence on a piano keyboard in three practice sessions that were separated by 5 min, 6 hr, or 24 hr. Significant improvements in performance accuracy were observed in Session 2 only in the group whose sessions were separated by 24 hr. There were significant increases in performance speed in Session 2 in all three practice conditions, results which likely were attributable to the inclusion of all Session 1 data in the analysis. Additional significant speed increases were observed in Session 3 only in the groups whose sessions were separated by 6 and 24 hr. These results suggest that sleep-based procedural memory consolidation may enhance performance accuracy in music skill learning, whereas enhancements in performance speed may be attributable to both wake- and sleep-based consolidation processes.
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V., Madhu, and Shruthi MS. "A Descriptive Study on Impact of Music on Workplace Productivity." Shanlax International Journal of Arts, Science and Humanities 7, no. 2 (2019): 32–38. https://doi.org/10.5281/zenodo.3575283.
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Music ows awlessly through air and touches every soul. It isn’t only in the instruments and the voices that the music exists but also in everything else. It’s in the whisper of the wind, it’s in the myriad raindrops, and it’s in the rhythmic beating of the heart as well. Music changes the large world into a small one as it has no boundaries. They say that the sound is the most powerful force in the universe. It has a spiritual aspect to it as well because once the music enters the neural network we have a very limited control on the effects of music as it penetrates the inner most depths of our consciousness. In this paper an effort is made to study the impact of music in workplace productivity. How often do we see people cruise through routine jobs with music playing in their ears? What we must also consider is that whether it has any impact on the quality of the job because when you are doing multiple things at a time the concentration is bound to get distributed. And if music has any impact on productivity one should also look at whether it’s the ambient music or the music with loud noise that makes people do their job well. We must also consider if there is any part of the music that a worker might nd distracting. Another objective of this paper is to see if music works for non-repetitive tasks as well. Another component to a song is lyrics. The tasks which require employee’s immersion in it might nd songs with lyrics counterproductive. Should music also be familiar to the employee to be able to effectively perform his task or do some people prefer unfamiliar music? This is also another component of this study.
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R, Dr Naveenkumar. "An Empirical Research Approach on Confusion Matrix Using Existing Musical Industry Dataset." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 04 (2024): 1–5. http://dx.doi.org/10.55041/ijsrem31385.
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This paper analyzes the sales of existing music albums from 1973 to 2019. The data shows that the music industry has experienced many changes over the years, with the most significant change being the introduction of digital platforms. Digital platforms have disrupted the traditional music industry model, leading to a decline in sales of physical albums. The paper also analyzes the sales of each medium through which music was distributed worldwide with different machine learning algorithm classifiers consistently exhibiting inadequate predictive power. the lack of a good prognosis highlights a fundamental failure toward well-infected persons in a class. the presence of non-zero false positive rates indicates negative data are distributed among positive errors. analysis of the data reveals worrying inefficiencies in classifier performance Keywords: Precession, Recall, Accuracy, Track, Digital industry, Cost efficiency and confusion matrix
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Zhang, Xu, Guohao Sun, Dingkang Li, Zhengyang Liu, and Yuandong Ji. "Synthetic-Aperture Passive Localization Utilizing Distributed Phased Moving-Antenna Arrays." Electronics 14, no. 11 (2025): 2114. https://doi.org/10.3390/electronics14112114.
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This article presents a Synthetic-Aperture Distributed Phased Array (SADPA) framework to address emitter localization challenges in dynamic environments. Building on Distributed Synthetic-Aperture Radar (DSAR) principles, SADPA integrates distributed phased arrays with motion-induced phase compensation, enabling coherent aperture synthesis beyond physical array limits. By analytically modeling and compensating nonlinear phase variations caused by platform motion, we resolve critical barriers to signal integration while extending synthetic apertures. An improved MUSIC algorithm jointly estimates emitter positions and phase distortions, overcoming parameter coupling inherent in moving systems. To quantify fundamental performance limits, the Cramer–Rao bound (CRB) is derived as a theoretical benchmark. Numerical simulations demonstrate the SADPA framework’s superior performance in multi-source resolution and positioning accuracy; it achieves 0.012 m resolution at 10 GHz for emitters spaced 0.01 m apart. The system maintains consistent coherent gain exceeding 30 dB across both the 1.5 GHz communication and 10 GHz radar bands. Monte Carlo simulations further reveal that the MUSIC-DPD algorithm within the SADPA framework attains minimum positioning error (RMSE), with experimental results closely approaching the theoretical CRB.
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Chang, Chialun. "The Design and Implementation of the Curriculum for the Collegiate Group Piano Course at the Comprehensive Universities in China." Journal of Higher Education Research 3, no. 4 (2022): 356. http://dx.doi.org/10.32629/jher.v3i4.956.
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The music education in China is unevenly distributed. Well known music conservatories in cosmopolitan cities offers high quality training both in theory and performance. On the other hand, general comprehensive universities, especially in the rural areas have limited resources and qualified teachers, and often require students a minimum of music training prior to college admission. Piano is the most versatile instrument to train music fundamentals, consequently, piano become mandatory course for a music degree in a comprehensive university. Many music departments offer group piano course to accommodate as many students. This essay will evaluate the course design of the collegiate group piano in China, and offer suggestions for implementation.
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Sun, Juan. "Personalized Music Recommendation Algorithm Based on Spark Platform." Computational Intelligence and Neuroscience 2022 (February 17, 2022): 1–9. http://dx.doi.org/10.1155/2022/7157075.
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Aiming at the shortcomings of traditional recommendation algorithms in dealing with large-scale music data, such as low accuracy and poor real-time performance, a personalized recommendation algorithm based on the Spark platform is proposed. The algorithm is based on the Spark platform. The K-means clustering model between users and music is constructed using an AFSA (artificial fish swarm algorithm) to optimize the initial centroids of K-means to improve the clustering effect. Based on the scoring relationship between users and users and users and music attributes, the collaborative filtering algorithm is applied to calculate the correlation between users to achieve accurate recommendations. Finally, the performance of the designed recommendation model is validated by deploying the recommendation model on the Spark platform using the Yahoo Music dataset and online music platform dataset. The experimental results show that the use of improved AFSA can complete the optimization of K-means clustering centroids with good clustering results; combined with the distributed fast computing capability of Spark platform with multiple nodes, the recommendation accuracy has better performance than traditional recommendation algorithms; especially when dealing with large-scale music data, the recommendation accuracy and real-time performance are higher, which meet the current demand of personalized music recommendation.
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Ismail, Syahirah, Ahmad Munir Mahzair, and Juwairiyah Zakaria. "Participation Interest In Orchestra Class among Degree Students in UiTM Faculty of Music." Environment-Behaviour Proceedings Journal 7, SI9 (2022): 347–52. http://dx.doi.org/10.21834/ebpj.v7isi9.4283.
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This paper aims to find the participation interest in orchestra class among music degree students in the UiTM Faculty of Music. The study's research objectives were to investigate students' perceptions towards orchestra class among music degree students and to determine the level of interest in orchestra class among music degree students. A questionnaire survey was distributed to 40 students doing their degree program and majoring in the orchestral instrument. Findings showed that the majority agreed that participating in orchestra class was very important in improving their performance skills, ensemble skills, communication skills in the ensemble, and developing orchestra repertoire knowledge.
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Hajdu, Georg. "Disposable Music." Computer Music Journal 40, no. 1 (2016): 25–34. http://dx.doi.org/10.1162/comj_a_00342.
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This article introduces the concept of real-time composition and composition as a “dispositif” in the sense of Foucault and Deleuze, defining it as a heterogeneous ensemble of pieces that together form an apparatus. The introduction situates the dispositif in the context of cultural developments, most notably its slow but steady shift away from textualization in digital media. As musicians are adapting to ensuing cultural and, above all, economic changes, new musical forms emerge that rely to a lesser degree on fully notated scores, such as “comprovisation” or laptop performance. Antithetically, the computer also allows the creation of “authorless” notated scores in real time to be sight-read by capable musicians—a practice for which special software has been developed in recent years. Because these scores are not meant to be kept and distributed, they are ephemeral and, therefore, disposable. Three examples by the author are given to illustrate the interwovenness of this approach, where carefully selected narratives and dramaturgies make up for the inherent unpredictability of the outcome.
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Ead, Hamed, Neama Abdelrahman, and Yasmine Hassan. "The Harmonious Balance: Exploring the Impact of Music on Concentration and Academic Performance Among Cairo University Students." Science Journal of Education 12, no. 6 (2024): 130–40. https://doi.org/10.11648/j.sjedu.20241206.13.
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This study investigates the intricate relationship between music listening habits and the concentration and academic performance of Cairo University students. Building on established research, including the well-known "Mozart effect," we examine both the potential benefits and drawbacks of integrating music into study routines. Utilizing a mixed-methods approach, we distributed quantitative surveys to 200 students and conducted qualitative interviews to gain deeper insights. The study focuses on key areas: frequency of music listening while studying, preferred genres, and perceptions of music's effects on focus, stress reduction, and overall academic performance. Our findings reveal that while certain genres, such as classical music, significantly enhance concentration and reduce anxiety, others may prove distracting, underscoring the importance of personal preferences in music selection. By correlating students’ perspectives with historical and contemporary research, this study elucidates how various music genres influence cognitive processes and learning outcomes. The results offer actionable strategies for both educators and students to optimize learning environments and enhance academic success, ultimately contributing to a better understanding of music's role in educational contexts. This research underscores the need for a tailored approach to music in study routines, advocating for informed choices that align with individual learning styles to foster a harmonious balance between music and academic performance.
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Zhang, Yuan, and Wenzhe Hu. "Design Mode of Stage Performing Arts Based on 3D Modeling and Moving Edge Computing Technology." Wireless Communications and Mobile Computing 2022 (January 27, 2022): 1–9. http://dx.doi.org/10.1155/2022/4659816.
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In recent years, the virtual stage background has become increasingly popular in the stage design of large-scale art evenings as well as in dance performances. It deftly blends the form of dance beauty with the content of dance performance, creating an atmosphere that not only sets the scene but also expands the stage space and enhances the artistic expression of dance. This paper focuses on the design of stage performance art using 3D modeling and MEC (mobile edge computing) technology. The data fusion method of multi-Kinect joints is researched and realized using 3DMAX to complete the modeling and virtual design of a 3D virtual stage scene. The performance scheme is created by analyzing music features with a computer, designing lighting actions, and matching music and lighting actions. Finally, it shows how DDLS (distributed deep learning shunting) configuration affects convergence performance as well as how model setting affects the diversion scheme.
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Rowe, Robert. "Real Time and Unreal Time: Expression in Distributed Performance." Journal of New Music Research 34, no. 1 (2005): 87–95. http://dx.doi.org/10.1080/1080/09298210500124034.
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M�ller, Stefan. "Computer-aided Musical Performance with the Distributed Rubato Environment." Journal of New Music Research 31, no. 3 (2002): 233–37. http://dx.doi.org/10.1076/jnmr.31.3.233.14184.
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Park, Huijea, Seungsu Chung, Jaehyun Park, and Yang Huang. "High-Resolution Localization Using Distributed MIMO FMCW Radars." Sensors 25, no. 12 (2025): 3579. https://doi.org/10.3390/s25123579.
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Due to its fast processing time and robustness against harsh environmental conditions, the frequency modulated continuous waveform (FMCW) multiple-input multiple-output (MIMO) radar is widely used for target localization. For high-accuracy localization, the two-dimensional multiple signal classification (2D MUSIC) algorithm can be applied to signals received by a single FMCW MIMO radar, achieving high-resolution positioning performance. To further enhance estimation accuracy, received signals or MUSIC spectra from multiple FMCW MIMO radars are often collected at a data fusion center and processed coherently. However, this approach increases data communication overhead and implementation complexity. To address these challenges, we propose an efficient high-resolution target localization algorithm. In the proposed method, the target position estimates from multiple FMCW MIMO radars are collected and combined using a weighted averaging approach to determine the target’s position within a unified coordinate system at the data fusion center. We first analyze the achievable resolution in the unified coordinate system, considering the impact of local parameter estimation errors. Based on this analysis, weights are assigned according to the achievable resolution within the unified coordinate framework. Notably, due to the typically limited number of antennas in FMCW MIMO radars, the azimuth angle resolution tends to be relatively lower than the range resolution. As a result, the achievable resolution in the unified coordinate system depends on the placement of each FMCW MIMO radar. The performance of the proposed scheme is validated using both synthetic simulation data and experimentally measured data, demonstrating its effectiveness in real-world scenarios.
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He, Xiangge, Min Zhang, Lijuan Gu, Shangran Xie, Fei Liu, and Hailong Lu. "Performance Improvement of Dual-Pulse Heterodyne Distributed Acoustic Sensor for Sound Detection." Sensors 20, no. 4 (2020): 999. http://dx.doi.org/10.3390/s20040999.
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Phase fading is fatal to the performance of distributed acoustic sensors (DASs) influencing its capability of distributed measurement as well as its noise level. Here, we report the experimental observation of a strong negative correlation between the relative power spectrum density (PSD) at the heterodyne frequency and the noise floor of the detected phase for the heterodyne demodulated distributed acoustic sensor (HD-DAS) system. We further propose a weighted-channel stack algorithm (WCSA) to alleviate the phase fading noise via an enhancement of the relative PSD at the heterodyne frequency. Experimental results show that the phase noise of the demodulated signal can be suppressed by 13.7 dB under optimal condition. As a potential application, we exploited the improved HD-DAS system to retrieve a piece of music lasted for 205 s, demonstrating the reliability of detecting wideband sound signal without distortion.
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Bouillot, Nicolas, and Michał Seta. "The Kaon’CPT Collective: Building a musical culture of not-in-real-life performance through conducted live comprovisation." Organised Sound 26, no. 3 (2021): 368–77. http://dx.doi.org/10.1017/s1355771821000455.
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In this article we describe a Networked Music Collective for online live performance events. Four characteristics of live performance (bodies, space and time, musical culture and social process) are identified as the conceptual and technological basis of our approach. Our recent distributed comprovisation, Perripplayear, is used to illustrate these concepts and to describe the technology stack we employed. The Kaon’CPT collective uses diverse instrumentation including acoustic and electronic instruments, voice and digital musical instruments (DMIs). Its members span 12 time zones and their comprovisation is conducted via a custom distributed score.
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Bruford, Bill. "A breed apart and a breed below: creative music performance and the expert drummer." Popular Music 39, no. 2 (2020): 312–31. http://dx.doi.org/10.1017/s0261143019000266.
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AbstractThis article argues that contemporary systems theory explanations are insufficient when accounting for ‘in the moment’ creative musical performance. The system model's focus on a domain-changing contribution from an individual fails to offer a satisfactory account of the construction and assessment of the more everyday distributed and collaborative creativity undertaken by many popular music instrumentalists. A cultural psychology perspective, in contrast, situates distributed creativity inbetween people and objects rather than within them. Glăveanu's ‘Five As framework’ has particular utility in capturing the ordinary creativity that does not seek to change the domain but nevertheless contributes to it. The model is applied here to four case studies of expert instrumentalists that draw upon a combination of primary evidence, lived experience and original research.
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Schroeder, Franziska, and Alex Lucas. "Distributed Participatory Design: The challenges of designing with physically disabled musicians during a global pandemic." Organised Sound 26, no. 2 (2021): 219–29. http://dx.doi.org/10.1017/s1355771821000261.
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The global COVID-19 pandemic has been an extraordinary situation. Social distancing has impacted the vast majority of people, reorganising society, physically separating us from friends, family and colleagues. Collectively we found ourselves in a distributed state, reliant upon digital technologies to maintain social and professional connections. Some activities can translate unabated to a digital medium, with benefits, such as the convenience inherent in many online shopping and banking services. Other activities, particularly those which are socially engaged, including inclusive music-making or design, may need to be re-framed and re-thought due to the absence of in-person contact.In Northern Ireland, the Performance Without Barriers (PwB) research group works with disabled artists from the Drake Music Project Northern Ireland (DMNI) to identify ways in which technology can remove access barriers to music-making. Since disabled people are experts in their unique lived experience of disability, they must be involved in the design process, an approach known as participatory design. At the end of 2020, many of us are still adjusting to the new normal, only beginning to understand the impact of distributed digital living. In this article, we examine how the socially engaged work of PwB has been affected, changed and adapted during the pandemic throughout 2019 to 2020, expanding ideas of distributed creativity to the notion of distributed design. The authors formalise the concept of socially engaged distributed participatory design, an approach that classifies PwB’s current research activities in the area of accessible music technology design and improvised musicking. Consideration is given to the impact the notion of ‘distribution’ has on degrees of participation.
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Cao, Chuan. "Creation Characteristics of Music Piano Arrangement Based on Distributed Sensors." Mobile Information Systems 2022 (August 19, 2022): 1–11. http://dx.doi.org/10.1155/2022/3086542.
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Music piano arrangement is a popular creation method among the public at present, which can play a role in the promotion of traditional culture and the combination of popular culture. However, the traditional method of analyzing the creative characteristics of musical piano arrangements has limitations, and it is not suitable for today’s public review era. In this paper, to address the limitations, distributed sensor technology is employed. It utilizes the Top-k query method, KNN (one of the most basic approaches in data mining classification technology is the proximity algorithm, often known as the K closest neighbor classification algorithm) algorithm, and fused balance algorithm to classify the creative features of musical piano arrangements. It collects 50 classic piano arrangements and studies its compositional style, melody, and tone. The data results showed that, for the style characteristics, each algorithm has a high recognition rate for passion songs, and the three errors are small; for the melody characteristics, because the KNN algorithm has a delay in determining the rising tempo, the overall melody is not grasped correctly, and the Top-k query method is not sensitive to the descending tempo, and the recognition rate is low; for the tonal characteristics, the Top-k query method has a larger range of low-key judgments, so that the number of identifications is larger. As for the energy consumption of the system, as the number of nodes increases, the energy consumption of the three algorithms also increases gradually. Among them, the Top-k query method has the largest energy consumption, exceeding 400 W at 180 nodes, and its energy consumption growth rate continues to increase. The fusion algorithm fluctuates greatly, while the KNN algorithm is stable. This shows that KNN algorithm is more stable in terms of system performance, and its characteristics can be better summarized in the creation and research of piano adaptation.
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Okoye, Peter Uchenna, Kevin Chuks Okolie, Christian Ifeanyi Ohaedeghasi, and Chukwuemeka Ngwu. "Ecomusicology: A socioecological dimension towards acoustically sustainable residential buildings." Sustinere: Journal of Environment and Sustainability 4, no. 3 (2020): 172–88. http://dx.doi.org/10.22515/sustinere.jes.v4i3.123.
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This study examined the socioecological roles of music sounds towards achieving acoustically sustainable residential building. The study adopted a survey research approach where questionnaires were distributed to the occupants of different types of residential buildings in three urban cities of Anambra State Nigeria. The survey data were analysed using Statistical Package for the Social Science (SPSS) Software. The results revealed that music plays significant roles towards acoustically sustainable building performance with the overall average mean score index of 4.36 and a range of 3.64 to 4.87. But the three most outstanding roles played by music towards acoustically sustainable building performance were: Enabling pleasant sound environment (4.87), improving quality of relaxation and resting (4.83), and increasing acoustic comfort and satisfaction (4.79). The result of one-way ANOVA revealed that music sounds significantly influence acoustical sustainability performance of residential buildings (p-value (.000) < α (0.05); F-ratio (148.377) > F-critical (3.020)); and that there was no significance difference between opinions of residents of the three urban cities in this regard (p-value (0.713) > α (0.05); F-ratio (0.338) < F-critical (3.020)). This study therefore, canvassed for integration of music principles and acoustics into sustainable building design processes as a way of achieving a sustainable building.
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CHITRA, S., and N. KUMARATHARAN. "AN EFFICIENT CFO ESTIMATION AND ICI REDUCTION IN MC-CDMA SYSTEM THROUGH CONJUGATE WEIGHTED MUSIC BASED RPRCC SCHEME." Latin American Applied Research - An international journal 46, no. 4 (2016): 153–59. http://dx.doi.org/10.52292/j.laar.2016.347.
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Multicarrier code division multiple access (MC-CDMA) is one of the most attractive method for future broadband wireless systems and long term evolution (LTE) standard. The performance of MC-CDMA systems is greatly deteriorated by carrier frequency offset (CFO) which is due to oscillator instability and Doppler shifts. CFO leads to loss of orthogonality between the subcarriers and introduces intercarrier interference (ICI). Among the numerous ICI cancellation techniques, the proposed receiver phase rotated conjugate cancellation (RPRCC) offers greater ICI reduction compared to other methods. The distributed nature of networks and concurrent transmission from multiple users in uplink, RPRCC needs multiple frequency offset estimation at the receiver. Multiple signal classification (MUSIC) algorithm is the best suited CFO estimation technique in multiuser environment. However the performance of MUSIC algorithm is inferior for closely spaced CFOs. To achieve precise CFO estimation and greater ICI reduction, RPRCC with conjugate weighted MUSIC based CFO estimation is proposed in this paper. The simulation results depict that the ICI power reduction capability and BER performance of the suggested method outperforms the conventional techniques in both properly and closely spaced CFOs.
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Chen, Kaiyuan, Weiyang Chen, and Jiaqi Li. "Noncircular Distributed Source DOA Estimation with Nested Arrays via Reduced-Dimension MUSIC." Sensors 24, no. 20 (2024): 6653. http://dx.doi.org/10.3390/s24206653.
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This paper focuses on the direction-of-arrival (DOA) estimation for noncircular coherently distributed (CD) sources with nested arrays. Usually, for point sources, sparse arrays have the potential to improve the estimation performance of algorithms by obtaining more degrees of freedom. However, algorithms have to be reconsidered for CD sources with sparse arrays and many problems arise. One thorny problem is the disappearance of displacement invariance of the virtual array manifold constructed by the virtualization technique. To deal with this issue, a nested array processing method for CD sources transmitting noncircular signals is proposed in this paper. Firstly, we construct the virtual sum-and-difference co-array by leveraging the noncircular quality of signals with a nested array. Then, an approximation is made to degrade CD sources into point sources. In this way, spatial smoothing techniques can be applied to restore the rank. Finally, in order to reduce the complexity, we modify the reduced-dimension MUSIC to estimate DOAs through a one-dimensional peak-searching procedure. The simulation results prove the superiority of our algorithm against other competitors.
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Chafe, Chris. "Distributed acoustical meshes on the Internet." Journal of the Acoustical Society of America 156, no. 4_Supplement (2024): A39. https://doi.org/10.1121/10.0035023.
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An acoustical mesh distributed over the Internet is constructed of scattering junction nodes with bidirectional audio streaming between them. Components of common network music performance (NMP) applications like JackTrip can be adapted for experimentation with the concept. In the usual context of ensemble NMP, an audio hub server accepts bidirectional audio connections from multiple clients. The clients are located apart from each other physically and the hub server handles audio to and from the ensemble of sites, typically comprising a band or choir. The usual spoke and wheel topology (single hub server/mulitple hub clients) requires some modifications to run as a mesh of interconnected scattering juntions. The resulting waveguide mesh topology is explored for its properties, some of which resemble extensions of waveguide mesh physical model simulations of musical instruments and rooms. The acoustical medium that this creates is a live, vibrating acoustic mesh across Internet space. Unique properties, such as non-uniform distribution of nodes, are described in an experiment that explores analogies to plates and membranes and is characterized by the inherently anisotropic propagation of the network.
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Chen, Zhong, Shihyuan Yeh, Jean-Francois Chamberland, and Gregory H. Huff. "A Sensor-Driven Analysis of Distributed Direction Finding Systems Based on UAV Swarms." Sensors 19, no. 12 (2019): 2659. http://dx.doi.org/10.3390/s19122659.
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This paper reports on the research of factors that impact the accuracy and efficiency of an unmanned aerial vehicle (UAV) based radio frequency (RF) and microwave data collection system. The swarming UAVs (agents) can be utilized to create micro-UAV swarm-based (MUSB) aperiodic antenna arrays that reduce angle ambiguity and improve convergence in sub-space direction-of-arrival (DOA) techniques. A mathematical data model is addressed in this paper to demonstrate fundamental properties of MUSB antenna arrays and study the performance of the data collection system framework. The Cramer–Rao bound (CRB) associated with two-dimensional (2D) DOAs of sources in the presence of sensor gain and phase coefficient is derived. The single-source case is studied in detail. The vector-space of emitters is exploited and the iterative-MUSIC (multiple signal classification) algorithm is created to estimate 2D DOAs of emitters. Numerical examples and practical measurements are provided to demonstrate the feasibility of the proposed MUSB data collection system framework using iterative-MUSIC algorithm and benchmark theoretical expectations.
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HELMUTH, MARA. "Virtual musical performance and improvisation on Internet2." Organised Sound 10, no. 3 (2005): 201–7. http://dx.doi.org/10.1017/s1355771805000944.
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Several projects involving audio and video transmission between the University of Cincinnati and other sites over the high bandwidth Internet2 have ranged from the simple transmission of video material, to more complex interactive improvisation. A performance of Clotho, the life of Camille Claudel, a musical monodrama collaboration, was streamed in September 2000 over Internet2 to a widely distributed audience. The second project involved my real-time contribution from Cincinnati to a performance happening at Yale University of The Ankle Diver, with music by Matthew Suttor. A network improvisation project with the Soundmesh (formerly Internet Sound Exchange) software resulted in a number of improvisations involving the University of Cincinnati, Columbia University, Yale University and the Fall Internet2 Meeting at the University of Southern California. High-quality audio and flexibility of sound sources and processing is a strength of these improvisations.
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Dordzro, John-Doe. "BRASS BAND MUSIC IN GHANA: THE INDIGENISATION OF EUROPEAN MILITARY MUSIC." African Music: Journal of the International Library of African Music 11, no. 2 (2020): 141–63. http://dx.doi.org/10.21504/amj.v11i2.2318.
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Local brass bands have become an indispensable factor in weddings, processions, rituals of birth or death, at Christmas and New Year festivities in many parts of the globe. Remains of European brass bands are widely distributed throughout Africa, India, Indonesia, Latin America, and the Caribbean. )ese bands are of both military and missionary origin. They are an important component of the nineteenth and early twentieth-century colonial expressive culture. Despite their uniqueness and widespread presence across the world, brass bands have received limited attention in Ghana. )is paper aims to address this lack by offering a comprehensive account of the contemporary situation of brass band music in Ghana. I trace the history of this musical world and explore the diverse ways military and missionary activities have shaped amateur brass band musical activities in Ghana. I discuss the distribution and band formations across Ghana, viewing it in five sections that detail different types of brass bands; church, town, service, school and “sharbo” bands. I continue by looking at the beginning, development, workings and indigenisation of European military music in local popular culture and provide an account of brass band music as observed in Ghana today. I argue that indigenisation is not a straightforward process of adaptation, rather, indigenisation is a process of ongoing aesthetic tensions and differences resulting in new musical forms and new forms of socialisation organised around musical performance.
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Burtner, Matthew, Steven Kemper, and David Topper. "Network Socio-Synthesis and Emergence in NOMADS." Organised Sound 17, no. 1 (2012): 45–55. http://dx.doi.org/10.1017/s1355771811000501.
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NOMADS (Network-Operational Mobile Applied Digital System) is a network client–server-based system for participant interaction in music and multimedia performance contexts. NOMADS allows large groups of participants, including the audience, to form a mobile interactive computer ensemble distributed across a network. Participants become part of a synergistic interaction with other performers, contributing to the multimedia performance. The system enhances local performance spaces, and it can integrate audiences located in multiple performance venues. Individual user input from up to thousands of simultaneous users across a network is synthesised into a single emergent sound and visual structure in an approach we call socio-synthesis. This paper recounts research leading up to NOMADS, outlines its technological architecture, and describes several implementations. Current applications include the telematic operaAuksalaq, and performances by the MICE Orchestra. The authors also consider the potential of large-scale human–computer ensembles as a paradigm for composition and performance.
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Blakeley, Ryan. "“The Part of the Music Industry That God Forgot”." Journal of Popular Music Studies 36, no. 2 (2024): 28–51. http://dx.doi.org/10.1525/jpms.2024.36.2.28.
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In October 2020, the B2B (business-to-business) background music company Soundtrack Your Brand—formerly Spotify Business—launched the world’s first full-catalog on-demand streaming service for background music. Although background music providers have licensed, curated, and distributed music to businesses for nearly a century, they have only recently started embracing the new possibilities of streaming. Now, streaming is rapidly influencing the background music industry’s features, music selection practices, and economics. While scholars in music and media studies have extensively studied B2C (business-to-consumer) streaming services such as Spotify and Apple Music, they have largely neglected streaming’s impact on background music. This article investigates how streaming is impacting the B2B background music industry, drawing upon platform analysis, marketing materials, and interviews with background music CEOs and researchers. After reviewing background music’s history and effects, the article examines how streaming is influencing business-oriented background music features, such as scheduling, zoning, messaging, and monitoring. It then considers streaming’s impact on background music selection practices, demonstrating how businesses are increasingly using features popularized by mainstream consumer services, such as playlists, algorithmic recommendations, and massive catalogs of music. The final section explores how streaming is shaping the economics of the background music industry, particularly for rightsholders who have historically been underpaid billions of dollars in public performance royalties. I argue that streaming may improve background music’s efficiency for businesses, but it also potentially reifies broader concerns about social control, surveillance, and inequitable artist remuneration that have become increasingly prevalent in the streaming age.
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Apanowicz, Mateusz. "Physical performance of the students of music schools." Journal of Education, Health and Sport 8, no. 9 (2018): 113–23. https://doi.org/10.5281/zenodo.1344995.
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<strong><strong>Apanowicz Mateusz</strong></strong><strong><strong>. </strong></strong><strong><strong>Physical performance of the students of music schools</strong></strong><strong><strong>. </strong></strong><strong><strong> </strong></strong><strong><strong>Journal </strong></strong><strong><strong>of Education, Health and Sport. 2018;8(9):1</strong></strong><strong><strong>1</strong></strong><strong><strong>3-1</strong></strong><strong><strong>23</strong></strong><strong><strong>. eISNN 2391-8306. DOI </strong></strong><strong>http://dx.doi.org/10.5281/zenodo.1344995</strong> <strong>http://ojs.ukw.edu.pl/index.php/johs/article/view/5</strong><strong>807</strong> <strong>The journal has had 7 points in Ministry of Science and Higher Education parametric evaluation. Part b item 1223 (26/01/2017).</strong> <strong>1223 Journal of Education, Health and Sport eissn 2391-8306 7</strong> <strong>© The Authors 2018;</strong> <strong>This article is published with open access at Licensee Open Journal Systems of Kazimierz Wielki University in Bydgoszcz, Poland</strong> <strong>Open Access. This article is distributed under the terms of the Creative Commons Attribution Noncommercial License which permits any noncommercial use, distribution, and reproduction in any medium, provided the original author (s) and source are credited. This is an open access article licensed under the terms of the Creative Commons Attribution Non commercial license Share alike.</strong> <strong>(http://creativecommons.org/licenses/by-nc-sa/4.0/) which permits unrestricted, non commercial use, distribution and reproduction in any medium, provided the work is properly cited.</strong> <strong>The authors declare that there is no conflict of interests regarding the publication of this paper.</strong> <strong>Received: 22.07.2018. Revised: 28.07.2018. Accepted: 14.08.2018.</strong> <strong><strong>Physical performance of the students of music schools</strong></strong> <strong><strong>Mateusz Apanowicz</strong></strong> <strong><strong>FizjoMedica, Poniatowskiego 1/4, 86-300 Grudziądz </strong></strong> <strong>Key words</strong><strong>: physical performance, musical instruments, Eurofit test</strong> <strong>Abstract</strong> <strong>Introduction</strong><strong>. Broadly understood physical performance constitutes a basis for the techniques of playing musical instruments. All motoric skills are meaningful here as they account for the widely interpreted movement and intellectual efficiency. </strong> <strong>Material and methods</strong>. The study included 393 students from randomly selected music schools in Poland and Germany. The level of physical performance was assessed by means of the Eurofit test in each of the schools. <strong>Summary</strong>. Among the students of both sexes, the average values obtained in the analysed tests did not reveal many differences. Average results achieved in the agility run revealed a decreasing tendency in grades 1 – 4 and an increasing trend in grades 5 and 6. An exception were boys’ results obtained in the cardiorespiratory test in grades 3, 4 and 6, which considerably differed from the results of other students involved in the study and in the muscle endurance test (functional strength) with the average results of boys tending to increase over subsequent years. It should be also emphasized that in the upper limbs speed test the results obtained by the girls of grade 5 definitely surpassed the level of other students.
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Ng, Kia. "Sensing and mapping for interactive performance." Organised Sound 7, no. 2 (2002): 191–200. http://dx.doi.org/10.1017/s1355771802002091.
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This paper describes a trans-domain mapping (TDM) framework for translating meaningful activities from one creative domain onto another. The multi-disciplinary framework is designed to facilitate an intuitive and non-intrusive interactive multimedia performance interface that offers the users or performers real-time control of multimedia events using their physical movements. It is intended to be a highly dynamic real-time performance tool, sensing and tracking activities and changes, in order to provide interactive multimedia performances.From a straightforward definition of the TDM framework, this paper reports several implementations and multi-disciplinary collaborative projects using the proposed framework, including a motion and colour-sensitive system, a sensor-based system for triggering musical events, and a distributed multimedia server for audio mapping of a real-time face tracker, and discusses different aspects of mapping strategies in their context.Plausible future directions, developments and exploration with the proposed framework, including stage augmenta tion, virtual and augmented reality, which involve sensing and mapping of physical and non-physical changes onto multimedia control events, are discussed.
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Vukmirović, Nenad, Miljko Erić, Miloš Janjić, and Petar M. Djurić. "Direct Wideband Coherent Localization by Distributed Antenna Arrays." Sensors 19, no. 20 (2019): 4582. http://dx.doi.org/10.3390/s19204582.
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We address wideband direct coherent localization of a radio transmitter by a distributed antenna array in a multipath scenario with spatially-coherent line-of-sight (LoS) signal components. Such a signal scenario is realistic in small cells, especially indoors in the mmWave range. The system model considers collocated time and phase synchronized receiving front-ends with antennas distributed in 3D space at known locations connected to the front-ends via calibrated coaxial cables or analog radio frequency over fiber links. The signal model assumes spherical wavefronts. We propose two ML-type algorithms (for known and unknown transmitter waveforms) and a subspace-based SCM-MUSIC algorithm for wideband direct coherent position estimation. We demonstrate the performance of the methods by Monte Carlo simulations. The results show that even in multipath environments, it is possible to achieve localization accuracy that is much better (by two to three orders of magnitude) than the carrier wavelength. They also suggest that the methods that do not exploit knowledge of the waveform have mean-squared errors approaching the Cramér–Rao bound.
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Whalley, Ian. "Developing Telematic Electroacoustic Music: Complex networks, machine intelligence and affective data stream sonification." Organised Sound 20, no. 1 (2015): 90–98. http://dx.doi.org/10.1017/s1355771814000478.
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This paper proposes expanding telematic electroacoustic music practice through the consideration of affective computing and integration with complex data streams. Current telematic electroacoustic music practice, despite the distances involved, is largely embedded in older music/sonic arts paradigms. For example, it is dominated by using concert halls, by concerns about the relationship between people and machines, and by concerns about geographically distributed cultures and natural environments. A more suitable environment for telematic sonic works is found in the inter-relationship between ‘players’ and broader contemporary networked life – one embedded in multiple real-time informational data streams. These streams will increase rapidly with the expansion of the Internet of Things (IoT), and with the increasing deployment of algorithmic decision-making and machine learning software. While collated data streams, such as news feeds, are often rendered visually, they are also partly interpreted through embodied cognition that is similar to music and sonic art interpretation. A meeting point for telematic electroacoustic music and real-time data sonification is in affective composition/performance models and data sonification. These allow for the sonic exploration of participants’ place in a matrix of increasingly networked relationships.
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Leković, Biljana, and Sanela Nikolić. "The Web 2.0 social media as a space for the creation of classical music experiences in the time of the pandemic: The case of the Belgrade Philharmonic Orchestra." New Sound, no. 61-1 (2023): 21–39. http://dx.doi.org/10.5937/newso23061021l.
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This paper shows how classical music left its canon-guaranteed spaces of the concert hall and stepped toward a broader community of audience using the virtual sphere of Web 2.0 social media tools, on the example of the work of the Belgrade Philharmonic Orchestra. We analyze how this orchestra uses social media to present and promote its repertoire and work during the period of pandemic measures and restrictions. The analysis indicates that in all its social media activities the orchestra was guided by the preservation of an autonomous aesthetic quality of classical music, as its value must remain present in whatever tools and formats an art institution presents itself. Various tactics of using social media tools were the opportunity to position classical music from the art of performance into a system of mediated and information-distributed culture along with the development of participatory turn as a wider audience engagement in classical music through producing social media user-generated content. The orchestra's use of social media during the time of the pandemic reflects several ways of changing classical music practice: connecting to new audiences in new ways, moving out of the concert hall, redefining the community relevance of a classical music institution, and initiating paths for collaboration between performers and the audiences.
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Mr. K.K. Bajaj. "Identifying the Factors of E-service Quality among Indian Millennial Streaming Service Users." Tuijin Jishu/Journal of Propulsion Technology 44, no. 4 (2023): 3519–30. http://dx.doi.org/10.52783/tjjpt.v44.i4.1493.
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This research sought to explore the preferences of Indian Millennial in the realm of streaming services, specifically focusing on music. The goal was to uncover the intricate connections between various quality dimensions within six services: web design, performance, personalization, trust, satisfaction, and repurchase intention. Employing an e-service quality measurement and a quantitative research methodology, the study distributed questionnaires to 400 Indian millennial known for their heavy usage of music streaming services, gathered from local private colleges and universities. Data analysis involved descriptive analysis and partial least squares for structural modeling. The study's findings indicated significant associations between web design, customization, and repurchase intention. Performance factors, such as reliability and responsiveness, played a crucial role in satisfaction, and a link between satisfaction and repurchase intention was established. Notably, trust did not show a significant influence on purchase intention. These findings contribute valuable insights that can be applied not only to streaming music services but also to other e-services, aiding in the development of quality metrics to assess customer-centric effectiveness. The suggestion for future research includes exploring different types of e-services with varied quality dimensions for a comprehensive and comparative analysis.Top of Form
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Mills, Roger. "Flight of the Sea Swallow: A Crossreality Telematic Performance." Leonardo 49, no. 1 (2016): 68–69. http://dx.doi.org/10.1162/leon_a_01166.
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Flight of the Sea Swallow is a cross-reality telematic performance project developed by the multimedia group blackhole factory. Live data from distributed heat, light and movement sensors is visualised within the virtual and real-world performance spaces, with the aim of increasing tele-presence for performers and audiences. This article describes the background of the project, as well as its design and implementation over several iterative performances.
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Nsairat, Nedal, Hussam N. Fakhouri, Rula Alsawalqa, and Faten Hamad. "Music Students’ Perception Towards Music Distance Learning Education During COVID-19 Pandemic: Cross-Sectional Study in Jordan." International Journal of Interactive Mobile Technologies (iJIM) 16, no. 06 (2022): 135–58. http://dx.doi.org/10.3991/ijim.v16i06.27193.
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During COVID-19 pandemic countries have faced various levels of COVID-19 infection rates, and millions of students are affected by changing the educational process. However, many music Schools have been faced with the challenge of dealing with a situation that necessitates emergency measures to continue the academic course in the midst of 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 to provide an analysis of Music Students’ Perception towered Music E-learning Education during COVID-19 Pandemic, to study the situation of musicians in COVID-19 and to study music Distance learning knowledge, attitudes and practices and to develop suggestions for solving the problems. A sample of (83) students from the music department in the University of Jordan completed a questionnaire. An online survey distributed 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. While (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.
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Venkata Narasimha Raju Dantuluri. "Transforming music streaming with AI-driven data systems." World Journal of Advanced Research and Reviews 26, no. 2 (2025): 3096–103. https://doi.org/10.30574/wjarr.2025.26.2.2003.
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This article examines the technological evolution reshaping music streaming platforms through advanced artificial intelligence and sophisticated data architectures. It explores how the industry has transitioned from traditional content delivery to highly personalized experience engines powered by complex machine learning systems. The architectural foundations supporting these platforms combine robust data pipelines, low-latency inference systems, and distributed computing infrastructures capable of processing massive interaction volumes while maintaining responsiveness. The article analyzes the progression of recommendation algorithms from basic collaborative filtering to multidimensional models incorporating contextual signals, acoustic analysis, and emotional mapping. The article further investigates how intelligent ad systems balance immediate revenue with long-term user engagement through dynamic placement strategies and sophisticated segmentation techniques. It addresses critical technical challenges including computational scale, performance optimization, and privacy preservation in increasingly regulated environments. Finally, the article examines how these architectural patterns and machine learning approaches pioneered in music streaming are finding applications across diverse industries, creating a blueprint for customer-centric innovation with implications extending far beyond entertainment.
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Stanek, Jeremy L., Kevin D. Komes, and Fred A. Murdock. "A Cross-Sectional Study of Pain Among U.S. College Music Students and Faculty." Medical Problems of Performing Artists 32, no. 1 (2017): 20–26. http://dx.doi.org/10.21091/mppa.2017.1005.
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OBJECTIVES: Studies over recent decades have demonstrated significant performance-related pain among professional musicians. However, there have been no large-scale studies to evaluate pain among college musicians. The aim of this study was to determine the prevalence and anatomical locations of performance-related pain among students and faculty at the college level and learn what musicians do when they have pain. METHODS: Cross-sectional data were collected using an online survey distributed to colleges across the United States. Data were analyzed using REDCap electronic data capture tools and Microsoft Excel. RESULTS: We received 1,007 survey responses and found that 67% of musicians at colleges experienced performance-related pain. The highest prevalence of pain was in woodwind musicians, with 83% reporting performance-related pain. The most common locations of pain were upper back (27%), lower back (26%), and fingers of the right hand (25%). Many student musicians with pain seek help from their teacher, but almost as many do not seek help at all. Less than 25% see a medical professional. CONCLUSIONS: Most musicians at colleges experience performance-related pain in a variety of anatomical locations depending upon instrument/voice. Performing arts health organizations can increase awareness of treatment options for musicians suffering from performance-related pain, which may lead to improved quality of life and increased career longevity for college musicians.
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Payne, Emily. "Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity by Linda T. Kaastra." Music & Science 5 (January 2022): 205920432211080. http://dx.doi.org/10.1177/20592043221108055.
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Chervyakova, Irina. "Bishop’s choir of Astrakhan in concerts of sacred music." St.Tikhons' University Review. Series V. Christian Art 45 (March 31, 2022): 153–63. http://dx.doi.org/10.15382/sturv202245.153-163.
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In the post-Soviet period, there was a noticeable increase in interest in the church singing art. Professional musicians were given the opportunity to perform and study music that had not been so widely distributed until that time. For many, another direction for self-realization has opened up. Spiritual music has increasingly begun to go beyond the scope of worship and is performed everywhere by both secular and church choirs on the stage. Thus, this kind of the richest Russian cultural heritage became more accessible not only for the parishioners of churches, but also for the listeners of concert halls.Traditions of concerts of Orthodox music, with the joint performance of church and secular choirs have been laid in Astrakhan since the early 1990s. The organization of such events is one of the directions of concert and educational activities of the Astrakhan Metropolis. The Astrakhan Bishops' Choir has always been an indispensable participant in these concerts. He is in many ways a model for other singing groups of the city, such a format of activity has a great influence on the professional state of choir choirs, repertoire preferences, manner of performance and much more.In this article we will consider the concert style of singing of large cathedrals on the example of the bishops' choir of the Intercession and Assumption cathedrals, their concert and festival activities.
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Slupskyi, Victor. "J. Pezel’s Music for the Ensemble of Copper Wind Instruments in the Context of German Tradition of the 17th Century." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (2022): 127–45. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.09.
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"The creative activity of Johann Pezel, the then-known multiinstrumentalist, whose creative path and kind of activity reflects the life and status of the musician of the Baroque era, is analyzed in the article in the context of the development of the German ensemble performance on copper wind instruments of the 17th century. It is noted that the motivation for the appearance of works for the ensemble of copper wind was a purely practical need to replenish the repertoire of urban performers. The works are written considering the technical capabilities of the instruments and follow the specifics of the genre-style tendencies of German instrumental music of the 17th century. The subject matter and methods of analysis should be distributed to the composer’s work of J. Pezel’s contemporaries, who also created music for the ensemble of copper brass, and to include their works in the repertoire of current performers. Keywords: German musical culture of the 17th century, J. Pezel’s music, musician-multiinstrumentalist, ensemble of copper wind instruments, cornet, trombone. "
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Shin, Choonsung, and Yangmi Lim. "Design and Implementation of Impromptu Mobile Social Karaoke for Digital Cultural Spaces in the New Normal Era." Applied Sciences 13, no. 22 (2023): 12319. http://dx.doi.org/10.3390/app132212319.
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Although music singing and sharing is a most common cultural activity, users are not allowed to instantly share their own songs due to fixed streaming and listening services on the music service platforms. In order to deal with instant singing and listening together with other users, this research was conducted to propose a mobile social karaoke system that supports group creation and music sharing via smartphones. The proposed karaoke system consists of a social music cloud that provides impromptu mobile singing and sharing services on the user’s devices. The social music cloud manages a group of users and supports data streaming and message sharing among the users’ devices. The users’ devices enable users to utilize karaoke services based on touch and voice-based natural interfaces in consideration of mobile specifications. After testing the system’s usability and stability, the results illustrated that the voice-based interface was effective in controlling and using the service according to the devices’ mobility and availability. In addition, when karaoke services are utilized in small groups, music transmission/reception is possible without being affected by the number of users. This study has three implications: first, it presented an important possibility for the creation of more active digital cultural spaces and changing mobile life by providing users with a recreation function; second, it provides convenient touch and voice UI for mobile users; and, third, it improves performance and management through its distributed processing.
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Collier, Geoffrey L., and James Lincoln Collier. "An Exploration of the Use of Tempo in Jazz." Music Perception 11, no. 3 (1994): 219–42. http://dx.doi.org/10.2307/40285621.
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Eight- and sixteen-bar segments of a large number of historical jazz recordings were timed with a stopwatch, and summary statistics were calculated from those measurements. A variety of aspects of the control of tempo were analyzed. Tempo is normally distributed when calculated in terms of metronome markings, but not when calculated in terms of durations. Jazz performance is very stable, even for solo performers. However, systematic patterns in the small variability observed indicate that it can serve expressive purposes, as evidenced by positive intercorrelations among alternative versions of the same tunes, as well as other factors. It was also discovered that when the bands execute a rapid "double time," the ratios among the tempo changes deviate systematically from exact doubling. Many of the effects can be summarized by hypothesizing that there are two (and perhaps more) preferred tempo ranges.
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Zieliński, Sławomir K., Hyunkook Lee, Paweł Antoniuk, and Oskar Dadan. "A Comparison of Human against Machine-Classification of Spatial Audio Scenes in Binaural Recordings of Music." Applied Sciences 10, no. 17 (2020): 5956. http://dx.doi.org/10.3390/app10175956.
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The purpose of this paper is to compare the performance of human listeners against the selected machine learning algorithms in the task of the classification of spatial audio scenes in binaural recordings of music under practical conditions. The three scenes were subject to classification: (1) music ensemble (a group of musical sources) located in the front, (2) music ensemble located at the back, and (3) music ensemble distributed around a listener. In the listening test, undertaken remotely over the Internet, human listeners reached the classification accuracy of 42.5%. For the listeners who passed the post-screening test, the accuracy was greater, approaching 60%. The above classification task was also undertaken automatically using four machine learning algorithms: convolutional neural network, support vector machines, extreme gradient boosting framework, and logistic regression. The machine learning algorithms substantially outperformed human listeners, with the classification accuracy reaching 84%, when tested under the binaural-room-impulse-response (BRIR) matched conditions. However, when the algorithms were tested under the BRIR mismatched scenario, the accuracy obtained by the algorithms was comparable to that exhibited by the listeners who passed the post-screening test, implying that the machine learning algorithms capability to perform in unknown electro-acoustic conditions needs to be further improved.