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Journal articles on the topic 'Electronic keyboard music, Arranged'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Fatianova, Elena Alekseevna. "Transcription for a synth keyboard (the case study of the work of A. Artemiev, V.Martynov, Yu. Bogdanov - the disc “Metamorphoses”)." PHILHARMONICA. International Music Journal, no. 5 (May 2021): 41–55. http://dx.doi.org/10.7256/2453-613x.2021.5.36938.

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The author analyzes the experience of transcription of the compositions of J. Bull, C. Monteverdi, J. Bach, C. Debussy and S. Prokofiev for a synth keyboard Synthi 100 done by the Russian composers A. Artemiev, V. Martynov, Yu. Bogdanov in 1980, and released on the disc &ldquo;Metamorphoses&rdquo;. The author also considers the composers&rsquo; range of artistic tasks and sound solutions and the variants of work with the texture of the original compositions. The electronic interpretations, contained in the &ldquo;Metamorphoses&rdquo;, not only demonstrate the examples of tr

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2

BATUBARA, JUNITA, FINO HARJA MARBUN, and JUBILEZER SIHITE. "KAJIAN MUSIK DAN MAKNA LAGU SIKSIK SIBATU MANIKKAM DICOVER OLEH GRUP JAMRUD." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 23, no. 2 (2021): 515. http://dx.doi.org/10.26887/ekspresi.v23i2.2079.

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This study discusses the analysis of the song Siksik Sibatu Manikkam performed by the Jamrud music group. The song Siksik Sibatu Manikkam was arranged and published in 2011 on the third track on the Jamrud music group's ninth album entitled Bumi dan Langit Menangis with Rock style. The theories used in this research are William P. Malm's theory to get a musicological study and Ferdinand de Saussure's semiotic theory to explain the meaning in this song. The song Siksik Sibatu Manikkam is performed in a modern (rock) style with drums, electric guitar, bass guitar, keyboard, and electronic music

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3

Melnychenko, Vitaliy. "Implementation of sample-engineering as arrangement technology in the training of a future teacher of musical arts." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 2 (131) (2020): 166–73. http://dx.doi.org/10.24195/2617-6688-2020-2-21.

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The article considers the possibility of including the technology of sample-engineering in the process of training students - future teachers of Musical Arts. The purpose of the article is to highlight the concept “sample-engineering” in its historical and technical aspects and to determine the possibilities of practical application of the innovative technology for arranging musical material by future teachers of Musical Arts. The main development stages of the technology facilitating the artificial production of non-traditional sound tones are considered, it is associated with the revolutiona

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4

Tokumitsu, Yoshiki, and Michael Cohen. "Akabeko Ensemble: Cultural multimodal helical computer music installation." SHS Web of Conferences 77 (2020): 04005. http://dx.doi.org/10.1051/shsconf/20207704005.

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In this study, we made “Aka-beko” choral ensemble. It comprises an octave of a chromatic musical scale, arranged in a helix and populated by animated oxen, instances of a regional mascot, who lift their heads and sing when triggered by events from a realtime MIDI keyboard controller. The application installation in the University of Aizu UBIC 3D Theater features stereographic display and spatialized sound.

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5

Thumlert, Kurt, Jason Nolan, and Stefan Sunandan Honisch. "The disconnected keyboard: Inclusive learning and musicking practice with modular synthesis." Journal of Popular Music Education 7, no. 3 (2023): 343–62. http://dx.doi.org/10.1386/jpme_00128_1.

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Since the 1960s, electronic sound synthesis and the keyboard interface have been so closely associated that many young musicians have come to see them as inseparable components, if not interchangeable terms. In this article, we ‘disconnect the keyboard’ and explore an alternative history of electronic sound synthesis – modular synthesis – that has remained largely overshadowed by keyboard-based synthesizers since the Minimoog. Researchers in music education signal that Eurocentric aesthetic norms, ableist performance ideals and exclusionary practices are interwoven in keyboard technologies, cr

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6

Duke, Robert A., Carla Davis Cash, and Sarah E. Allen. "Focus of Attention Affects Performance of Motor Skills in Music." Journal of Research in Music Education 59, no. 1 (2011): 44–55. http://dx.doi.org/10.1177/0022429410396093.

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To test the extent to which learners performing a simple keyboard passage would be affected by directing their focus of attention to different aspects of their movements, 16 music majors performed a brief keyboard passage under each of four focus conditions arranged in a counterbalanced design—a total of 64 experimental sessions. As they performed the test passage, participants were directed to focus their attention on either their fingers, the piano keys, the piano hammers, or the sound produced. Complete MIDI data for all responses were digitally recorded by software written specifically for

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7

JONES, DAVID WYN. "HAYDN'S FORGOTTEN QUARTETS: THREE OF THE ‘PARIS’ SYMPHONIES ARRANGED FOR STRING QUARTET." Eighteenth Century Music 8, no. 2 (2011): 287–305. http://dx.doi.org/10.1017/s147857061100008x.

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ABSTRACTIn 1787 Artaria, Haydn's publisher in Vienna, issued three versions of The Seven Last Words: the original orchestral version, a quartet arrangement prepared by the composer and a keyboard arrangement sanctioned by him. A year later, in September 1788, Artaria issued three of the recent ‘Paris’ Symphonies, Nos 84, 85 and 86, in an arrangement for quartet. While the quartet version of The Seven Last Words has always been accepted as part of the canon, the three quartet arrangements of the symphonies have been ignored. Sympathetic consideration of a range of evidence, including the biblio

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8

Juwita, Lily, Erfan Erfan, and Irdhan Epria Darma Putra. "ARANSEMEN MUSIK SEKOLAH DENGAN JUDUL “RUMAH KITA”." Jurnal Sendratasik 8, no. 1 (2019): 35. http://dx.doi.org/10.24036/jsu.v8i1.106416.

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This artwork aims to express an idea that is poured through music performances in the form of music arrangement. In this song, arranger worked in the form of school music arrangement. The band Combo at SMK N 7 Padang corresponds to the ability of ensembles studied by students. Here arranger arranged song our house is played with some vocal music accompaniment, keyboard, bass, guitar, drums. The arransemen in this piece of music contains lyrics that explain that as bad and cruel as any of this country we must remain grateful and devoted to the homeland. By building new things through some devel

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9

Finney, Steven A. "Auditory Feedback and Musical Keyboard Performance." Music Perception 15, no. 2 (1997): 153–74. http://dx.doi.org/10.2307/40285747.

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In an investigation into the role of auditory feedback guidance in musical performance, musically experienced subjects performed on an electronic keyboard under altered feedback conditions that included pitch and timing manipulations, as well as absence of auditory feedback. The results largely replicated the data reported by Gates and Bradshaw (1974): performance in the absence of auditory feedback showed no impairment, whereas performance under delayed auditory feedback showed significant impairment. In an extension of the Gates and Bradshaw study, however, it was found that altered pitch fe

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10

Yücetoker, İzzet. "Pedagogical Analysis of the Baroque Period Piano Repertoire: Example of Italy." International Education Studies 14, no. 11 (2021): 19. http://dx.doi.org/10.5539/ies.v14n11p19.

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The aim of this study is to access editions of Italian Baroque works in place; to examine the availability of these works in terms of gaining techniques for playing in piano education, to gain new works aimed at different pedagogical stages in the field and to acquire new but unknown works in piano education repertoire. This research was carried out with the literature review model. During the first three months of the research, 158 baroque period composers were found among 2173 Italian composers. 50 composers composing on keyboard instruments were reached among 158 baroque composers. For this

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11

Lamba, Linesti, Ni Wayan Ardini, I. Komang Darmayuda, and Ketut Sumerjana. "Analisis Lagu Toraja Marendeng Marampa Aransemen Tindoki Band." Journal of Music Science, Technology, and Industry 2, no. 2 (2019): 169–84. http://dx.doi.org/10.31091/jomsti.v2i2.865.

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This study aims to describe the musical form of Marendeng Marampa'", a local song in Toraja, Tana Toraja Regency, South Sulawesi Province, Indonesia, arranged by the Tindoki Band. The qualitative data in this research are obtained by doing observation, interviews, documentation, and discography. The results of this research show that " Marendeng Marampa'" arranged by Tindoki Band have two parts, i.e. the form A-B, with the sequence A-A' A-A-A'-B-B-B" consisting of several figures, motives, phrases (antecedent phrase and consequent phrase). Its musical instruments used in this arrangement are c

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12

Woodfield, Ian. "The ‘Hindostannie Air’: English Attempts to Understand Indian Music in the Late Eighteenth Century." Journal of the Royal Musical Association 119, no. 2 (1994): 189–211. http://dx.doi.org/10.1093/jrma/119.2.189.

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A ‘hindostannie air‘ may be defined as a short piece derived from an Indian original but arranged in a European idiom. The genre came to prominence among the English inhabitants of Calcutta during the 1780s and 1790s. A small group of women, reflecting the currently fashionable interest in anything oriental, began to employ professional musicians to ‘collect’ Indian songs – that is, to notate them as best they could from the performances of leading Indian singers. Once the melodies had been transcribed, they were arranged as solo keyboard pieces or as songs, a process which necessitated the us

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13

Yu, Guangwei, Yuan Yao, and Zhuoyuan Song. "A multi-dimensional matrix keyboard interfacing circuit design." Circuit World 46, no. 3 (2020): 175–82. http://dx.doi.org/10.1108/cw-10-2019-0142.

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Purpose This paper presents a novel design method for keyboard circuits. The purpose of this study is to enable a single-board computer with fewer pins to recognize a keyboard system consisting of a large number of switches. Through the study of different kinds of keyboard circuits, a general circuit schematic design method is abstracted. Several experiments are conducted to prove the feasibility of the proposed circuit design method. Design/methodology/approach Conventional circuit schematic diagrams are often limited to two-dimensional planes. Through investigating higher dimensional alterna

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14

Petrova, Natalia N. "Digital Musical Performance as the Refl ection of the Axiosphere of Culture and the Educational Space of the Digital Age." ICONI, no. 3 (2020): 87–97. http://dx.doi.org/10.33779/2658-4824.2020.3.087-097.

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The article examines performance on contemporary digital musical instruments, such as the keyboard synthesizer, the digital piano, the digital button and keyboard accordion and others, as a direction of artistic creativity in the contemporary sociocultural space on demand by numerous music lovers and professional performers. Evaluation is given to the possibilities of functioning for electronic musical creativity in the culturalcreative, communicative and educational angles. A phenomenological analysis of performance on electronic musical instruments is carried out and data is provided about t

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15

Marlisna, Marlisna, and Marzam Marzam. "BENTUK PENYAJIAN KESENIAN KASIDAH REBANA DALAM ACARA PESTA PERKAWINAN DI JORONG SAROHA TAMIANG KECAMATAN LEMBAH MELINTANG KABUPATEN PASAMAN BARAT." Jurnal Sendratasik 9, no. 3 (2020): 8. http://dx.doi.org/10.24036/jsu.v9i1.109378.

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AbstractThis research aims to describe the form of a Kasidah Rebana presentation in a wedding party in Jorong SarohaTamiang, Lembah Melintang District, West Pasaman Regency. This research is a qualitative research which focuseson getting issues related to the topic. The data were collected through literature study, observation, interviews, and documentation. The development of sophisticated era and the cultures and arts developed in community give positive and negative effects. However, the art of Kasidah Rebana in the Jorong Saroha Tamiang still exists and is the choice of the community to be

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16

Hyllegard, Randy, and Tamara L. Bories. "Deliberate Practice Theory: Relevance, Effort, and Inherent Enjoyment of Music Practice." Perceptual and Motor Skills 107, no. 2 (2008): 439–48. http://dx.doi.org/10.2466/pms.107.2.439-448.

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This study examined three assumptions of the theory of deliberate practice for practice playing music on an electronic keyboard. 40 undergraduate students, divided into two separate groups, practiced one of two music sequences and rated the relevance of practice for improving performance on the sequences, the amount of effort needed to learn the sequences, and the inherent enjoyment of practice sessions. Findings for each assumption were consistent with those suggested by theory but also showed that perceptions are affected by the amount of practice completed and performance of the skill.

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17

McPherson, Andrew. "Buttons, Handles, and Keys: Advances in Continuous-Control Keyboard Instruments." Computer Music Journal 39, no. 2 (2015): 28–46. http://dx.doi.org/10.1162/comj_a_00297.

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The keyboard is one of the most popular and enduring musical interfaces ever created. Today, the keyboard is most closely associated with the acoustic piano and the electronic keyboards inspired by it, which share the essential feature of being discrete: Notes are defined temporally by their onset and release only, with little control over each note beyond velocity and timing. Many keyboard instruments have been invented, however, that let the player continuously shape each note. This article provides a review of keyboards whose keys allow continuous control, from early mechanical origins to t

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18

Marharyta, Ushakova. "Keyboard instruments in the system of R. Tureck’s individual performing style." Aspects of Historical Musicology 24, no. 24 (2021): 111–26. http://dx.doi.org/10.34064/khnum2-24.06.

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Statement of the problem. The thinking of a performer is conditioned by the organology and “sound image” of his instrument, which gives rise to questions about how flexible is the individual style of musicians who have mastered several instruments. Especially when it comes to performers who turn to related instruments, playing techniques of which are sometimes mutually exclusive. Analysis of recent research and publication. The research is based on works, the subject of which is the study of: 1) the sound image of the instrument (N. Riabukha, I. Sukhlenko and N. Kuchma); 2) the specifics of th

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19

Porcello, Thomas. "The ethics of digital audio-sampling: engineers' discourse." Popular Music 10, no. 1 (1991): 69–84. http://dx.doi.org/10.1017/s0261143000004323.

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Over the course of the past several years the use of digital audio-sampling by composers, musicians, engineers and producers has increased to a point where the sampler is now as common in the recording studio as the microphone. Digital samplers allow one to encode a fragment of sound, from one to several seconds in duration, in a digitised binary form which can then be stored in computer memory. This stored sound may be played back through a keyboard, with its pitch and tonal qualities accurately reproduced or, as is often the case, manipulated through electronic editing. Because of its unsurp

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20

Cornish, Gabrielle. "Synthesized Socialism: Soviet Modernity and the Politics of Timbre in the Cold War." Journal of the American Musicological Society 75, no. 3 (2022): 547–98. http://dx.doi.org/10.1525/jams.2022.75.3.547.

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Abstract In this article, I show that contrary to enduring Cold War binaries between Western experimentalism and Soviet socialist realism, the Soviet government strategically deployed electronic music to bolster its image as a modern, forward-looking nation during the early Cold War. Drawing on previously unseen archival sources, oral history interviews, and organological methods, I argue that the Soviet government cultivated a specific politics of timbre through the creation of state-sponsored electronic musical instruments and ensembles. I begin by examining a 1955 order from the Ministry of

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21

Afdhal, Muhammad. "“REPUBLIKEN” MENYATU DALAM PERBEDAAN." Imaji 17, no. 1 (2019): 66–73. http://dx.doi.org/10.21831/imaji.v17i1.25736.

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Republiken adalah penganut ketatanegaraan yang berbentuk republik. Istilah Republiken menunjukkan suatu kesatuan masyarakat yang berbangsa dan berdaulat. Republiken dalam kaitannya dengan karya seni ini adalah suatu bentuk semangat berbangsa melalui seni, dalam hal ini musik, menunjukkan bahwa perbedaan ras atau suku bukanlah masalah untuk bangsa Indonesia menjadi semangat yang satu. Karya komposisi musik yang berjudul “Republiken”, diharapkan dapat menunjukkan semangat berbangsa melalui beberapa karakteristik musik-musik nusantara yang diekspresikan melalui EDM atau Elektronik Dance Music yan

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22

Reynolds, Wendy. "Start the Electronic Keyboard, Books 1 and 2 by Nick Haines. London: Longman, 1990. £2.25 each, 32 pp. each." British Journal of Music Education 8, no. 3 (1991): 319–20. http://dx.doi.org/10.1017/s0265051700008573.

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23

Paine, Garth. "Towards Unified Design Guidelines for New Interfaces for Musical Expression." Organised Sound 14, no. 2 (2009): 142–55. http://dx.doi.org/10.1017/s1355771809000259.

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The use of a laptop computer for musical performance has become widespread in the electronic music community. It brings with it many issues pertaining to the communication of musical intent. Critics argue that performances of this nature fail to engage audiences because many performers use the mouse and/or computer keyboard to control their musical works, leaving no visual cues to guide the audience as to the correlation between performance gestures and musical outcomes. The author will argue that interfaces need to communicate something of their task and that cognitive affordances (Gibson 197

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24

Pratama, Aditya, and Diah Latifah. "Rancangan Instrumen Virtual Kendang Sunda Menggunakan Kontakt Sebagai Media Kreativitas Musik Digital." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 5, no. 2 (2023): 167–76. http://dx.doi.org/10.24036/musikolastika.v5i2.134.

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Purpose: The purpose of this research is to reveal the process of designing a virtual instrument for Sundanese drumming, starting from practical studies to its realization as a market-ready design. The influence of the development of digital music technology has led to various inventions in the form of virtual instruments. As part of the preservation and development of local culture-based music, it is necessary to create virtual musical instruments, including Sundanese drums. The problem that occurs today is, that virtual instrument media for Sundanese drums that facilitate learning Sundanese

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25

FAIRLEY, JAN. "Bill Drummond’s ‘The 17’ project at IASPM Glasgow: some feedback on the experience and what happened." Popular Music 28, no. 1 (2009): 109–11. http://dx.doi.org/10.1017/s0261143008001621.

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Those of us who found we were sitting on or next to an empty cinema type numbered seat with black gaffer tape covering its number gathered at the front of the room and then, after a ten-minute break, entered into a windowless studio where two rows of seats were arranged in a semi-circle. In front of the seats were three high microphones, a keyboard, and a table with an Apple Mac laptop on it (the iconic corporate apple sign was the only thing that glowed in the dark while we sang). After an introduction from Drummond, he played a note and its octaves above and below and we hummed along to get

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26

Braasch, Jonas. "Why did wind instruments stop evolving?" Journal of the Acoustical Society of America 151, no. 4 (2022): A182. http://dx.doi.org/10.1121/10.0011033.

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Adolphe Sax invented the last widely spread orchestral wind instrument in 1846, and the saxophone has hardly changed since its inception. Also, outside of classical music, wind instruments have not evolved with very few exceptions in popular music, like the melodica. The latter was popular in the mid 20th century, because it was one of the cheapest instruments with a piano-style keyboard before mass-produced electronic keyboards. Since its inception, jazz drew from traditional orchestral wind instruments that were invented long before jazz came up. They were easily available as they were widel

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BELET, BRIAN. "Live performance interaction for humans and machines in the early twenty-first century: one composer's aesthetics for composition and performance practice." Organised Sound 8, no. 3 (2003): 305–12. http://dx.doi.org/10.1017/s1355771803000281.

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Technology influences all art, and therefore all music, including composition, performance and listening. It always has, and it always will. For example, technical developments in materials, mechanics and manufacturing were important factors that permitted the piano to supersede the harpsichord as the primary concert Western keyboard instrument by about 1800. And with each new technical development new performance issues have been introduced. Piano performance technique is quite different from harpsichord technique, and composers responded to these differences with new music ideas and gestures

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28

Barlow, Jill. "London, King's Place: Nico Muhly and Alvin Curran." Tempo 67, no. 266 (2013): 82–83. http://dx.doi.org/10.1017/s004029821300096x.

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Born in Vermont in 1981, and raised in Rhode Island, then based in New York, the young post-minimalist composer Nico Muhly was, at the age of 20, commissioned by the Juilliard School to write Music in Transition for versatile pianist Bruce Brubaker. Later Brubaker and Muhly created a performance piece ‘involving electronic commentaries and “graffiti” overlaid on live performances of piano sonatas by Haydn’, to quote the Kings Place programme notes for Muhly's new piece Drones and Piano, which received its UK première on 19 May, with Brubaker at the keyboard. Again fragments of Haydn are used,

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Berdeli, Leman. "The Ocular Harpsichord ‘La Toilet’." Diciottesimo Secolo 7 (November 18, 2022): 157–62. http://dx.doi.org/10.36253/ds-13359.

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The color organ with its modern interpretation is an electronic device representing sound in a visual configuration. The origins of the color organ inventions can be traced back to the hand-operated models based on harpsichord design promising the splash of colors upon pressing a key. In this perusal, the harpsichord appears as a tool of fashion with its unique interpretation taking place in a setting where the author got into the habit of calling the ocular harpsichord ‘la toilet’. The acquisition of a certain tendency made the author develop a habit of calling ornaments in general as ‘visibl

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Fan, Yangjie. "Internet of Things Remote Piano Information Teaching System and Its Control Method." Journal of Sensors 2022 (August 8, 2022): 1–6. http://dx.doi.org/10.1155/2022/4730550.

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In order to change the current piano teaching mode and develop towards digitalization, this paper puts forward the Internet of Things remote piano information teaching system. The digital electric piano teaching system is controlled by multimedia computer. It is a kind of music teaching form composed of electric piano and other electronic keyboard instruments, music auxiliary teaching system, and music production software. It integrates viewing, listening, and practicing and changes the traditional one-to-one teaching mode. Its core structure adopts professional audio processing chip and proce

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Odam, George. "Backing Tracks by Patrick Dunn. Boosey & Hawkes, 1988. Score and cassette, £6.95; set of parts, £8.50. - Session Time (Keyboard and Solo Instrument Books) arranged by Peter Wastall. Boosey & Hawkes, 1988. Keyboard Book, £4.25; flute, clarinet and saxophone books, £ 3.85 each. - Mr Bell's Jam Sessions by William Bell. Chester, 1985. Keyboard score and instrumental parts, no prices given. - Songpack by Ian Butler. Chester, 1985. Teacher's Book and Pupil's Book, no prices given." British Journal of Music Education 6, no. 3 (1989): 319–20. http://dx.doi.org/10.1017/s0265051700007324.

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Dinnan, James A. "Electronic keyboard musical instrument or tone generator employing modified eastern music tru‐scale octave transformation to avoid overtone collisions." Journal of the Acoustical Society of America 96, no. 4 (1994): 2623. http://dx.doi.org/10.1121/1.410053.

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Brittin, Ruth V. "Children's Preference for Sequenced Accompaniments: The Influence of Style and Perceived Tempo." Journal of Research in Music Education 48, no. 3 (2000): 237–48. http://dx.doi.org/10.2307/3345396.

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Second graders through sixth graders ( N = 343) listened to 10 musical selections in music classes and marked their preference and perception of each selection's tempo on rating scales. Listeners responded to children's songs played with nine electronic keyboard sequenced accompaniments, including popular to more traditional folk styles. The tenth accompaniment style featured simple chords with piano timbre, included to represent a typical acoustic piano accompaniment. All selections were performed at the same tempo. Three versions of the survey, recorded with various song-style combinations,

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Rasendriya, Athiyya Apsarini, Ishak Ramli, Drajatno Widi Utomo, Yosua Reydo Respati, and Wegig Murwonugroho. "DAYA TARIK VISUAL BAND VIRTUAL GORILLAZ: MEMBANGUN IDENTITAS DAN FANTASI." ANDHARUPA 10, no. 02 (2024): 272–85. http://dx.doi.org/10.33633/andharupa.v10i02.4933.

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Abstrak Gorillaz adalah band virtual yang dibentuk musisi Damon Albarn dan seniman Jamie Hewlett (1998). Band ini mencampurkan genre musik seperti rock, hip-hop, dub, reggae, electronic, dan pop. Gorillaz terdiri dari empat anggota virtual yaitu Stuart Pot sebagai vokalis dan pemain keyboard, Murdoc Niccals sebagai pemain bass dengan gaya kontroversial, Noodle sebagai gitaris digambarkan sebagai gadis Jepang muda yang kini telah dewasa, dan Russel Hobbs sebagai drummer yang memiliki latar belakang cerita dirasuki oleh roh teman-temannya yang telah meninggal. Anggota band direpresentasikan seba

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Davletova, Clara B. "The Principles of Organization of Career Enhancement Training Courses for Music Pedagogues in the Informational Educational Environment." ICONI, no. 4 (2020): 112–19. http://dx.doi.org/10.33779/2658-4824.2020.4.112-119.

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The article examines the problems in organizing course preparations for a pedagogue musician’s, describes the aspects of actualizing the programs of career enhancement courses for specialists from the system of supplementary education for children. One of the main conditions for the organization of the courses is the use of the technical means — the computer and keyboard synthesizers, since particularly they open up the access to the necessary information, perfect the process of education and expand the forms, possibilities and technologies. The content of the supplementary professional progra

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Lee, Minhoon, Hobin Kim, Mikyeong Moon, and Seung-Min Park. "Computer-Vision-Based Advanced Optical Music Recognition System." Journal of Computational and Theoretical Nanoscience 18, no. 5 (2021): 1345–51. http://dx.doi.org/10.1166/jctn.2021.9626.

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Computer vision is an artificial intelligence technology that studies techniques for extracting information from images. Several studies have been performed to identify and edit music scores using computer vision. This study proposes a system to identify musical notes and print arranged music. Music is produced by general rules; consequently, the components of music have specific patterns. There are four approaches in pattern recognition that can be used classify images using patterns. Our proposed method of identifying music sheets is as follows. Several pretreatment processes (image binary,

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Lee, Minhoon, Hobin Kim, Mikyeong Moon, and Seung-Min Park. "Computer-Vision-Based Advanced Optical Music Recognition System." Journal of Computational and Theoretical Nanoscience 18, no. 5 (2021): 1345–51. http://dx.doi.org/10.1166/jctn.2021.9626.

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Computer vision is an artificial intelligence technology that studies techniques for extracting information from images. Several studies have been performed to identify and edit music scores using computer vision. This study proposes a system to identify musical notes and print arranged music. Music is produced by general rules; consequently, the components of music have specific patterns. There are four approaches in pattern recognition that can be used classify images using patterns. Our proposed method of identifying music sheets is as follows. Several pretreatment processes (image binary,

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Кушнір, Катерина, та Діана Нагорна. "Розвиток музичних здібностей молодших школярів засобами інструментального музикування". Мистецтво в культурі сучасності: теорія та практика навчання, № 2 (18 грудня 2023): 34–39. http://dx.doi.org/10.31652/3041-1017-2023(2)-04.

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The article is devoted to the problem of developing musical abilities of younger schoolchildren in the process of instrumental music making. Today, reforms are actively taking place in the field of education, the purpose of which is the formation of a competitive, creative personality capable of self-determination, self-realization and self-improvement; promote his comprehensive development, talents, abilities, competences, creativity and curiosity. Therefore, a modern school should ensure the formation of such a personality, and an important role in the implementation of these tasks should be

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Tang, Jiabei, Minpeng Xu, Jin Han, et al. "Optimizing SSVEP-Based BCI System towards Practical High-Speed Spelling." Sensors 20, no. 15 (2020): 4186. http://dx.doi.org/10.3390/s20154186.

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The brain–computer interface (BCI) spellers based on steady-state visual evoked potentials (SSVEPs) have recently been widely investigated for their high information transfer rates (ITRs). This paper aims to improve the practicability of the SSVEP-BCIs for high-speed spelling. The system acquired the electroencephalogram (EEG) data from a self-developed dedicated EEG device and the stimulation was arranged as a keyboard. The task-related component analysis (TRCA) spatial filter was modified (mTRCA) for target classification and showed significantly higher performance compared with the original

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Villeneuve, Myriam, and Anouk Lamontagne. "Playing Piano Can Improve Upper Extremity Function after Stroke: Case Studies." Stroke Research and Treatment 2013 (2013): 1–5. http://dx.doi.org/10.1155/2013/159105.

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Music-supported therapy (MST) is an innovative approach that was shown to improve manual dexterity in acute stroke survivors. The feasibility of such intervention in chronic stroke survivors and its longer-term benefits, however, remain unknown. The objective of this pilot study was to estimate the short- and long-term effects of a 3-week piano training program on upper extremity function in persons with chronic stroke. A multiple pre-post sequential design was used, with measurements taken at baseline (week0, week3), prior to (week6) and after the intervention (week9), and at 3-week follow-up

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Dewsberry, Elise. "Fireweeds: The Diary of a Dream." Canadian Theatre Review 72 (September 1992): 52–72. http://dx.doi.org/10.3138/ctr.72.012.

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The busy first day hubbub of the Muskoka Festival’s annual Music Theatre Writers’ Colony. As an actress, I will be assigned to two different projects which we will rehearse all week and then present as staged readings with music for an invited audience. None of this is really new to me – this is my fourth season at Muskoka Festival. I know that this will be a busy, hectic, challenging, frustrating and rewarding week. After the usual early morning meet-and-greet with coffee and doughnuts and a welcome from artistic director Michael Ayoub and Colony co-ordinator Patrick Young, my first stop is r

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Georgieva Fileva – Ruseva, Krasimira. "MUSICAL MEANS OF EXPRESSION TAUGHT VIA AN ELECTRONIC TEXTBOOK FOR FOURTH GRADE OF THE GENERAL EDUCATION SCHOOL." Knowledge International Journal 34, no. 6 (2019): 1697–702. http://dx.doi.org/10.35120/kij34061697g.

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Musical means of expression - this is the language of music, the materialization of the idea of the one who created the particular musical work, the means by which the listeners can reach the author's idea. Knowledge of some musical means of expression, such as harmony and polyphony, requires a long preparation, they are accessible to professionals. Others, such as dynamics (force of sounding), rhythm, metrum, timbre, the main characteristics of the melody, are accessible to any listener who is familiar with their possible meanings. Due to the great importance of the musical means of expressio

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Ramafisela, Lingga. "Creating An E-Module For A Basic Musical Instrument (Compulsory Piano Course)." Jurnal Seni Musik 10, no. 2 (2021): 93–98. http://dx.doi.org/10.15294/jsm.v10i2.49554.

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Learning basic instruments (compulsory piano) is a basic piano practice course that must be taken for all students except for piano major students. Learning this basic instrument (compulsory piano) encountered obstacles, namely that students still did not understand and could play the piano. This is certainly an obstacle in the process of learning basic instruments (compulsory piano) especially in the current situation where learning is carried out online. Electronic modules or e-modules are needed to assist students in an effective and efficient learning process. This basic instrument e-modul

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Pointon, Barbara. "Primary classroom teaching materials - New Ways with Old Rhymes by Alison Hedger. London: Chester Music, 1992. £4.95; audio cassette, £4.95. - Sonsense Nongs chosen by Michael Rosen. London: A & C Black, 1992. £8.99. - Going Places by Jan Holdstock. Tonbridge: Universal Edition, 1993. £4.50. - Folksongs from Ireland, Spirituals of the Deep South, both arranged for voices and keyboard by Ronald Corp. London: Faber Music, 1993. £4.95 each. - Folksongs from the Caribbean arranged by Ken Bolam and Peter Gritton; London: Faber Music, 1993. £4.95 each. - Folksongs from India arranged by Peter Gritton. London: Faber Music, 1993. £4.95 each. - Showkits 1: Robin; Showkits 2: Henry by Pamela Wedgwood and Fay Gregory. London: Faber Music, 1993. £6.95 each. - Crusade by Philip and Jo Astle. Oxford: University Press, 1992. £6.50." British Journal of Music Education 11, no. 2 (1994): 170–72. http://dx.doi.org/10.1017/s0265051700001108.

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Odam, George. "Composing in the Classroom by Ruth Harris and Elizabeth Hawksley. Cambridge: University Press, 1989. £5.95, 126 pp. - GCSE Music Skills - Composing by Martin Hinckley. London: Longman, 1989. No price given, 80 pp. - Composing at the Electronic Keyboard, Books 1 and 2 by Nicholas Haines. London: Longman, 1989. No price given, 40 pp/48 pp." British Journal of Music Education 8, no. 1 (1991): 90–91. http://dx.doi.org/10.1017/s0265051700008147.

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Swarsana, I. Putu, Gusti Ayu Ketut Suandewi, and Ni Nyoman Kasih. "Karya Tari Sky Maps." Jurnal Igel : Journal Of Dance 4, no. 2 (2024): 54–62. http://dx.doi.org/10.59997/jijod.v4i2.3170.

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Sky Maps is a contemporary dance work inspired by constellations. A constellation is a collection of stars connected into a pattern in the sky. In addition to predicting luck, the uses of constellations include, among others, as a sign for planting time, and also used as navigation or directions for fishermen at sea. Constellations can also be used to determine the cardinal directions in each direction east, south, west, north have their own constellations. The constellations consist of the Scorpio constellation, the Kite constellation, the hunter constellation, and the thunder constellation.

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Goertzen, Melissa. "Longitudinal Analysis of Undergraduate E-book Use Finds that Knowledge of Local Communities Drives Format Selection and Collection Development Activities." Evidence Based Library and Information Practice 12, no. 1 (2017): 112. http://dx.doi.org/10.18438/b8bw5q.

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A Review of: Hobbs, K., & Klare, D. (2016). Are we there yet?: A longitudinal look at e-books through students’ eyes. Journal of Electronic Resources Librarianship, 28(1), 9-24. http://dx.doi.org/10.1080/1941126X.2016.1130451  Abstract  Objective – To determine undergraduate students’ opinions of, use of, and facility with e-books.  Design – A qualitative study that incorporated annual interview and usability sessions over a period of four years. The protocol was informed by interview techniques used in prior studies at Wesleyan University. To supp

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APJ. "The Ever Changing Instrument." Rhythmic Music Conservatory, no. 5 (November 4, 2024). https://doi.org/10.22501/rmc.2718187.

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The project explores the artistic potential of unpredictability, specifically within the context of electronic music. By referring to an original instrument design—including programming a number of randomized systems—a series of compositions for keyboard instruments were developed. The central theme is the relationship between dialogue and loss of control during the creative process. This project was documented intermediately with new music, as well as technological and procedural reflections.

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Caldwell, Leah. "Syrian Dabke Meets Western Media." Arab Media & Society, no. 12 (December 10, 2010). http://dx.doi.org/10.70090/lc10sdwm.

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In front of a packed audience at Johnny Brenda's bar in Philadelphia on a late November night, Mark Gergis of the Sublime Frequencies record label took the stage to introduce Syrian musician Omar Souleyman: “From Northeastern Syria, from the Hassekeh region, from Jazira, and the village of Ras al-Ayn, please welcome Omar Souleyman.” Souleyman and his keyboard-synth player Rizan Sa’id received a rowdy welcome from the crowd who remained enthusiastic throughout – upon any sign of stillness in the audience Souleyman would wave his hands, prompting fervent dancing and cheering. This two-man show,

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Rajagopal, Sahitya, Alex Street, and Stephen W. Philip. "Art and Craft of Music Therapy for Stroke Rehabilitation in a Remote North Indian Community." Voices: A World Forum for Music Therapy 24, no. 1 (2024). http://dx.doi.org/10.15845/voices.v24i1.3724.

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This case study describes how a music therapist (Stephen) and a music therapy intern (Sahitya) worked conjointly with a client and her granddaughter in a remote part of North India. The description provides a unique insight into conditions, culture, and lifestyle in this location, and how these two clinicians were able to merge broader arts-based and holistic approaches, on a journey towards client-centered and functional neurologic music therapy exercises to help the client regain more independence. The background to initial work undertaken by the music therapist, which lasted for one year an

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