Academic literature on the topic 'Music – (Title)'
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Journal articles on the topic "Music – (Title)"
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Kranz, Jack. "The Music Uniform Title:." Cataloging & Classification Quarterly 9, no. 2 (1988): 73–80. http://dx.doi.org/10.1300/j104v09n02_06.
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Wu, Verena S., Jennifer MacRitchie, and Catherine J. Stevens. "Non-musicians recognize unfamiliar contemporary classical music excerpts with increasing repetition." Musicae Scientiae 24, no. 2 (2018): 251–65. http://dx.doi.org/10.1177/1029864918797164.
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This article aims to determine the effects of exposure and title information when applied to music excerpts that are unfamiliar both in terms of the single excerpt, and in the underlying tonal structures used (i.e. contemporary classical music). Twenty-three non-musicians participated in a two-session experiment: 32 musical excerpts were presented on Day 1 immediately followed by presentation of a title varying by type (no title, descriptive, semantic, affective). Music excerpts were varied by number of exposures (1 vs. 3 exposures). Participants were asked whether they remembered the excerpt from earlier in the experiment, and to rate their liking on a 7-point Likert scale. On Day 2, recognition for the 32 “old” (Day 1) excerpts was tested, along with 32 “new” excerpts, which were all presented without titles. Participants were also asked to rate their liking for the excerpts, as per Day 1. Accounting for response bias, recognition was above chance level across all conditions. Results indicated a significant effect of exposure on recognition ([Formula: see text] = .79). No other effects were significant. Examining the liking ratings of accurately recognized excerpts, a significant interaction between exposure and title was found ([Formula: see text] = .20), where the difference in ratings across exposure levels for affective titles was greater than that of the semantic titles ( d = .60). This suggests that the title type, although not influencing memory of the piece, affected enjoyment of music at different exposures.
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Reeder, Ray, Steven G. Pallay, William E. Studwell, and David A. Hamilton. "Cross Index Title Guide to Classical Music." Notes 47, no. 2 (1990): 407. http://dx.doi.org/10.2307/941998.
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Wilder, JaNell Lynn. "Carnival Music in Trinidad, a title in the Global Music Series." Music Educators Journal 91, no. 2 (2004): 54–55. http://dx.doi.org/10.2307/3400053.
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Snoj, Jurij. "Matjaž Barbo: Meaning in Music and Music in Meaning." Musicological Annual 52, no. 1 (2016): 211–16. http://dx.doi.org/10.4312/mz.52.1.211-216.
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Although it is not expressed in the title, this new book by professor Matjaž Barbo deals with the aesthetics of music; its chapters discuss classical topics of musical aesthetics, emphasizing to some extent issues that have dominated recent philosophical discourse on music.
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Warren, Jeff. "Music ethics politics." New Sound, no. 50-2 (2017): 25–41. http://dx.doi.org/10.5937/newso1750025w.
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In the twenty-teens, music has been wrapped up in politics and ethics in several prominent events, including violent attacks at the Bataclan theatre in Paris and the Pulse Nightclub in Orlando, and the profiling of musical listening habits in the French governments "stop jihadism" campaign. Significant scholarship exists on music and politics, and interest in music and ethical philosophy is growing. More work, however, is needed in theorizing the connections between music, ethics, and politics. In 1951, Heidegger's essay "Building Dwelling Thinking" lists the words in the title without punctuation in an attempt to show how these three terms are intertwined even though they are often considered separate. While these words and concepts are not interchangeable, each relies upon or invokes the other. My title structurally mirrors Heidegger's, and my aim here is to elucidate how music is intertwined with ethics and politics.
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Holman, Peter. "A Title Page of Michael Praetorius." De musica disserenda 15, no. 1-2 (2019): 9. http://dx.doi.org/10.3986/dmd15.1-2.01.
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GETMAN, JESSICA L. "A Series on the Edge: Social Tension in Star Trek's Title Cue—ADDENDUM." Journal of the Society for American Music 9, no. 4 (2015): 522. http://dx.doi.org/10.1017/s1752196315000486.
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Permission to use notation for the theme from “Star Trek” was received after the article by Getman in the August 2015 issue of Journal of the Society for American Music was published. The captions for Examples 1, 2, and 4 should carry the following credit:Theme from “Star Trek(R),” words by Gene Roddenberry, music by Alexander Courage. © 1966, 1970 Bruin Music Company. Copyright renewed. This arrangement © 2015 Bruin Music Company. All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219. International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard Corporation.
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Du, Yi. "Symposium Title: Sequence and Music Processing in the Brain." International Journal of Psychophysiology 168 (October 2021): S58. http://dx.doi.org/10.1016/j.ijpsycho.2021.07.176.
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Taylor-Jay, Claire. "The Third Biennial International Conference on Twentieth-Century Music, University of Nottingham, 26–29 June 2003." Twentieth-Century Music 1, no. 1 (2004): 147–51. http://dx.doi.org/10.1017/s1478572204000106.
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The great stylistic diversity of the music written during the twentieth century (and beyond) would seem to make the organization of any conference devoted to it a formidable task: can one really hope to cover a representative selection? While a decade ago such an event might well have covered only art music (a disparate enough field in itself), nowadays one would expect to see some attention given to jazz, popular music, and film. The organizers of the Third Biennial International Conference on Twentieth-Century Music at the University of Nottingham made a conscious attempt at inclusivity, selecting papers that might have been better put together under the title of ‘Twentieth-Century Musics’. The diversity of music represented by the papers was reflected in the plurality of approaches and methodologies. Indeed, one central feature of the conference was its concern not only with musical works, or with twentieth-century composers, but with musical practices. Alongside the statutory selection of more or less canonical art composers and their music, there were several sessions on popular music, jazz, and perspectives from ethnomusicology.
Dissertations / Theses on the topic "Music – (Title)"
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Olson, Ted S. "Waylon Jennings: A Life in Music." Digital Commons @ East Tennessee State University, 2018. https://utpress.org/title/waylon/.
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Book Summary: From his earliest recordings to his posthumously released albums, the haunting baritone of Waylon Jennings marked him as an extraordinarily individualistic country music artist. This biography by the late R. Serge Denisoff, first published in 1983, recounts Waylon’s west Texas upbringing, his introduction to music as a radio announcer at thirteen years old, his tutelage by rock star Buddy Holly, and his eventual stellar yet stormy music career. Where the original 1983 biography ends, music scholar Travis Stimeling picks up with the waning years of Waylon’s recording and performing. Stimeling recounts in the new afterword Waylon’s continued musical success in the early 1980s—though his financial troubles and battle with drugs and alcohol would soon cost him both professionally and personally—his triumphant and sober return in the 1990s and collaboration with longtime recording artists in the industry, and his continued musical relevance in an evolving industry driven by Nashville’s urban popularization of country music. Additionally, series editor Ted Olson, in his foreword, touches on Waylon’s legacy and the continued influence of his outlaw style of country music. Fans of Waylon, country music, and the Nashville music scene are sure to find this second edition of R. Serge Denisoff’s classic biography a welcome addition to the publications on the father of outlaw country.
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Mason, Lindsey Lea. "Teacher Communication in Title I Elementary Music Classrooms: Perceptions of Elementary Music Classroom Teachers." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407827/.
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The increasing cultural diversity in the United States has brought not only richness, but also complex challenges, to various segments of American society, particularly with regard to public schools. As the student population continues to diversify while teacher population remains predominately White, female, and middle class, teacher awareness in the classroom might be an integral piece to assist students marginalized by stereotypes in feeling more empowered in the school community. Through qualitative data collection and analysis, and framed by Basil Bernstein’s language code theory, this study explored teachers’ perceptions of how classroom interactions, in light of differences in communication, might impact students of different socio-economic backgrounds from the teacher. The findings of this study indicated that the participants expressed a desire to connect with all of their students, regardless of their background. They also discussed challenges that made relationships difficult, such as feelings of disconnect from their Title I students and their families based on differences in home life and background. This dissonance was often difficult for the participants to reconcile due to pressures and difficulties in their teaching situations, such as the large number of students and the scheduling of classes, curricular pressures, and other district expectations such as after-school ensembles. Implications for practicing music teachers and teacher education include ways to understand students’ communities and rethinking ways of approaching relevant terminology in education.
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Augustsson, Oliver. "Zelda Title Theme : Plankning, analys och arrangering av NES-komposition." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2923.
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Detta examensarbete skapades med målet att utforska musik från Nintendo Entertainment System–spel (NES) med ett musikteoretiskt och musikterminologiskt perspektiv. Det analyserade stycket är Title Theme från The Legend of Zelda (1988). Bakgrundskapitlet tar upp de verktyg kompositörerna hade att arbeta med som NES:s ljudkort och loopar. Plankning och transkription diskuteras och tidigare forskning i området tv-spel synliggörs. Syftet är att skapa en visuell analys som kan användas för att arrangera om originalmusiken från spelen. Genom plankning och analys har jag producerat ett nytt arrangemang. Resultatet presenteras som noter på min plankning, analys och arrangemang med förklaringar över originalets uppbyggnad. Arbetet har gett insikt i hur min skolning i musik kan vara hämmande för att arrangera som programmerarna gjorde förr, men också vilka verktyg de hade att arbeta med. Med arbetet har jag insett hur hjälpsam en tydlig analys av ett verk kan vara för arrangering.
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Codsi, Marie-Claude. "Title tunes and the branding of music in Hollywood film franchises." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31381.
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The use of leitmotifs in films has often been critiqued. Theodor Adorno and Hanns Eisler went as far as to claim in 1947 that "The whole form language of current cinema music derives from advertising" and that leitmotifs were in part to blame. While I take a more neutral stance, I argue that Eisler and Adorno's critique is partly correct, especially in regards to film series produced from the 1960s onwards. The analytical work undertaken for this research suggests that multiple franchises use elements of their scores as branding tools. I argue that these melodies, which have often been referred to as leitmotifs in film music scholarship, should be described as something else: title tunes. It seems that over time, they come to represent not just one or two movies, but entire franchises. They also appear to possess a marketing value not necessarily present in leitmotifs. As such, I would argue these title tunes resemble much more sonic logos as described in the sonic branding world than leitmotifs. This thesis is an exploration of title tunes. My thesis focuses primarily on mainstream Hollywood film franchises from the 1960s onwards. Various case studies from different time periods and different movie genres are analysed to describe and understand this new category of promotional film music. This thesis first takes a historical look at the concept of title tunes, explaining how other sonic branding practices used in radio, television and cinema appear to have influenced the creation of title tunes. From the sample of films analysed for this thesis, I argue that title tunes share commonalities, yet the commonalities seem to vary slightly across movie genres. The analyses undertaken also suggest that title tunes are dynamic entities, that some title tunes are more complex than others (featuring multiple components), and that some franchises can feature more than one title tune. My interpretation of the data also suggests that these title tunes are used as emotional and nostalgic tools and that specific orchestrations and arrangements might carry additional emotional power. While the majority of this thesis explores the use of title tunes in films, their use in trailers and other commodities is discussed. Finally, I suggest how title tunes might change in the future and why certain franchises have omitted using such recurring motifs.
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Chandler, Michael (Michael Douglas). "It's the Kids!: Examining Early-Career Elementary General Music Teacher Longevity in Title I Settings." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248427/.
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The purpose of this study was to investigate factors contributing to the longevity of four early-career (5 to 10 years of experience) K–5 elementary general music teachers in Title I schools situated in four regions of the United States. The central research question was: How did early-career elementary general music teachers in Title I schools describe the opportunities and challenges that contributed to their decisions to continue teaching? Using Deci and Ryan's theory of self-determination as a theoretical framework, I analyzed how the four teachers reflected on the degree to which they each possessed autonomy, competence, and relatedness through recounting their perspectives, stories, and experiences. Although the participants shared many commonalities, they also experienced challenges and opportunities unique to their teaching environments. Results were mixed regarding their levels of autonomy and relatedness, but all four teachers possessed a high level of competence, which was likely a contributing factor to their longevity and potential to continue teaching. Nurture and care for children also emerged as a prominent theme from the results, which required the application of a separate theoretical framework. Noddings's theory of the ethic of care served as a lens for examining the myriad ways each participant demonstrated love, care, and concern for her students. All four teachers strongly expressed the important role their love of working with children and seeing them grow, progress, and learn played in their desire to continue teaching. Of all the contributing factors, the participants' ethic of care seemed to be the most significant influence on their decisions to continue teaching. They also spoke extensively about the role of their love for music as a subject. Conclusions address implications for the field and recommendations for future research.
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Cole, Shannon. "Exploring performance-oriented analysis through an examination of title character's two arias in Carlisle Floyd's "Susannah"." Thesis, University of Ottawa (Canada), 2008. http://hdl.handle.net/10393/27673.
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This thesis adapts a model of performance-based analysis and utilizes it to interpret the title role in Carlisle Floyd's opera, Susannah (1955). Using John Rink's model as a guide, this performance-oriented analysis reveals the relationships between the musical and textual elements within the role, and allows the performer to prioritize which relationships will most strongly guide her interpretation.
The first chapter introduces the opera's libretto and its literary origins, outlines the analytical methodology, and addresses pertinent literature in the field of performance analysis as well as that regarding the opera Susannah. The second chapter provides the historical and political context of the opera, including discussion of Floyd's contemporaries and the impact of McCarthyism in 1950s America.
The third and fourth chapters present analyses of Susannah's two arias, "Ain't It A Pretty Night" and "The Trees On The Mountains" respectively. The theoretically-based findings are weighed against actual performance considerations to create an analysis that could feasibly inform a performance. The fifth chapter situates the two arias in the context of the opera, and points to further research possibilities.
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Öst, Ann-Sofie. "Analys av relationen mellan titel och musik - i ett urval av Torsten Petres pianostycken." Thesis, Växjö University, School of Education, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1045.
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<p>The aim of this essay is to analyze the relationship between the title and the music in a selec-tion of piano pieces by Torsten Petre. Based on the work list, a categorization of the piano titles has been made and the categories have been named ”emotions, moods and minds”, ”na-ture”, ”mankind”, ”dances and similar titles”, ”supernatural beings, fairy creatures and popu-lar belief”, ”foreign countries and foreign culture”, ”nationalism and tradition”, ”artifacts”, and ”miscellaneous”. Two pieces from the category ”emotions, moods and minds” Skizzer för piano, third series Op. 38, 1905 have been chosen: no 2 Svikna drömmar and no 6 Mörka stunder. See appendix 1 for the work list and appendix 2 for the categorization.</p><p>As a background to the analysis, a biography about Torsten Petre as a musician and composer has been written. The background also consists of a description of the bourgeois salon, an environment in which his music was played, as well as of salon music as a genre.</p><p>As there is no established method for analyzing the relationship between title and music, I have based the analysis on Benestad´s thoughts about how we perceive music. I have carried out the analysis using the piano and playing the piano pieces repeatedly until I felt that I could describe the relationship. The analysis shows that using the title as a guideline there is a clear recognition between the title and music, which can be described thoroughly, almost like a story.</p>
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Hayashida, Mami. "FROM SONATA AND FANTASY TO SONATA-FANTASY: CHARTING A MUSICAL EVOLUTION." Lexington, Ky. : [University of Kentucky Libraries], 2007. http://lib.uky.edu/ETD/ukymuar2007d00612/HayashidaDMADoc.pdf.
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Thesis (D.M.A.)--University of Kentucky, 2007.<br>Title from document title page (viewed on August 7, 2007). Document formatted into pages; contains: viii, 135 p. : ill., music. Includes abstract and vita. Includes bibliographical references (p. 127-133).
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Makrinos, George Adam. "Drawing Music, Playing Architecture." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33890.
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Architecture and music share intrinsic meanings generated by a constant stream of metaphors which are forms of poetic transformations.
This thesis sought to challenge the present way an architect-musician makes drawings through the exploration of multimedia possibilities at hand. The drawings are composed using Macromedia Flash MX.
OPEN HOMEPAGE.EXE
To download flash player, click here:
<a href="http://www.macromedia.com/shockwave/download/download.cgi?P1_Prod_Version=ShockwaveFlash">
Download flash Player</a><br>Master of Architecture
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Chappell, Elizabeth Whitehead. "Predictors of instrumental music enrollment : how school policies may influence retention in Title I and non-Title I public schools." 2013. http://hdl.handle.net/2152/22988.
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The purpose of this study was to (1) examine the academic and demographic characteristics of 6th-grade instrumental music students attending selected public schools of contrasting socioeconomic backgrounds, (2) examine the retention patterns of students who were required to enroll in 6th-grade instrumental music compared to those who elected to do so, and (3) construct a predictive model of student retention in middle school instrumental music programs.
Individual student data (N = 1052) were gathered from beginning instrumental 6th-grade programs at selected schools in a large, urban school district in Texas. Data included students’ 5th and 6th standardized test results, 7th-grade class schedules, and demographic information. Data were analyzed according to the 6th-grade campus the students attended (Title I/non-Title I) and the type of school (elementary school with required music programs or middle school with elective music programs) to identify demographic and academic factors associated with 6th-and 7th-grade music participation. I examined students’ schedules for retention patterns associated with individual school scheduling and academic remedial policies. I used logistic regression to develop predictive models of retention based on the following factors: gender, ethnicity, special education, at-risk, gifted, 5th and 6th-grade standardized test results, 5th-grade campus and pre-AP enrollment.
Only the 6th-grade standardized tests, either math or reading, predicted retention in instrumental music in all of the school settings. Ethnicity, at-risk, and 5th-grade standardized tests did not predict retention in any school setting. Each school setting was unique in the factors that predicted instrumental music retention. For example, in the Title I setting, giftedness and 6th-grade reading test results predicted retention whereas in the non-Title I setting, gender, pre-AP enrollment and 6th-grade math results predicted retention.
I also observed that 6th-grade required music programs were, by default, more inclusive than elective programs, and that the diversity in the student population of the 6th-grade required programs was maintained during the 7th-grade when music became elective. Results from this study suggest that offering only one elective choice per year may exclude access to music education for low academic achievers and reduce enrollment in music ensembles.<br>text
Books on the topic "Music – (Title)"
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1930-, Pallay Steven G., ed. Cross index title guide to classical music. Greenwood Press, 1987.
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Pekka, Sipilä, and Fazer Musiikki Oy, eds. Suomi sävelissä: Nuotinkansia vuosilta 1852-1935 = Finland i toner : pärmbilder från åren 1852-1935 = Finland to music : sheet music covers from 1852-1935. Fazer, 1987.
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Pafik, Marie-Reine A. The sheet music reference & price guide. 2nd ed. Collector Books, 1995.
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Ziegler, Johann. Wiener Musik-Panorama: Viennensia-Notentitel (1814-1918). Wiener Stadt- und Landesbibliothek, 1986.
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Marie, Guiheen Anna, ed. The sheet music reference and price guide. Collector Books, 1992.
Find full textBook chapters on the topic "Music – (Title)"
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Baker, Andrea. "Battle for the Melbourne Music Capital Title (1990s to the Present)." In The Great Music City. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-96352-5_9.
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Arenas Rebolledo, Yasser S., Peter van der Putten, and Maarten H. Lamers. "Assessing Augmented Creativity: Putting a Lovelace Machine for Interactive Title Generation Through a Human Creativity Test." In Computational Intelligence in Music, Sound, Art and Design. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55750-2_18.
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Usula, Nicola. "«La forza del naturale tradotta dallo spagnolo»: su un’ignota riscrittura italiana de La fuerza del natural di Agustín Moreto e Jerónimo de Cáncer a Vienna." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.23.
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Among the manuscripts in Italian kept in the National Library of Vienna, a comedy in prose of Spanish derivation has recently come to light, hitherto neglected by theatrological and Hispanistic studies. The title page of the booklet declares at the beginning the nature of the content with a laconic "La forza del naturale translated from Spanish », which identifies the text as a translation and revision of La fuerza del natural by Agustín Moreto and Jerónimo de Cáncer (perhaps with the collaboration of Juan de Matos Fragoso), probably composed between 1644 and 1654 and printed for the first time in 1661. Where and when was written the text passed down by the Viennese witness? Was it imported from Italy or written beyond the Alps? Finally, is it possible to trace the exact hypotext starting from the twenty sources known today of the Spanish comedy? This study answers these questions and sheds light on the adaptation techniques that emerged from the comparison between the Italian text and its Spanish hypotext, also by taking into account the elements relating to music distributed throughout the comedy: dances, singing and musical instruments on stage.
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Pitt, Ivan L. "Economics of Songwriters’ Performance Royalty Income: Tenure, Age, and Titles." In Economic Analysis of Music Copyright. Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6318-5_7.
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Tedesco, Anna. "Ancora sulla fortuna de La Fuerza lastimosa nell’opera del Seicento: Alfonso I di Matteo Noris (Venezia Napoli Palermo)." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.12.
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Lope de Vega’s play, La fuerza lastimosa, written around 1599 and first published in 1609, was very popular in Seventeenth-Century Italy, as research by Fausta Antonucci and Salomé Vuelta has demonstrated. Several Italian adaptations are already known, among which a dramma per musica, La forza compassionevole, written by Antonio Salvi and staged in Leghorn in 1694. In the same year, another opera based on Lope’s drama was staged in Venice (as Alfonso I) and in Naples (under the title Alfonso il Sesto re di Castiglia). Two years later, this last version was revived in Palermo, again, as in Naples, to celebrate the birthday of King Charles II of Spain. None of these three librettos indicates Lope’s authorship nor it has been hypothesized until now. However, the plot of all librettos is clearly based on Lope’s play. This chapter aims at illustrating the relation between the librettos for these three performances and La fuerza lastimosa. It also discusses the context of all the stagings and identifies some of the existing musical sources. Finally, it argues that Alessandro Scarlatti could be the author of the Neapolitan score.
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"Title page." In Music and the Aging Brain. Elsevier, 2020. http://dx.doi.org/10.1016/b978-0-12-817422-7.00017-1.
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Almudena, González, Santapau Manuel, and González Julián Jesús. "EEG Analysis during Music Perception." In Electroencephalography [Working Title]. IntechOpen, 2020. http://dx.doi.org/10.5772/intechopen.94574.
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This review presents the most interesting results of electroencephalographic studies on musical perception performed with different analysis techniques. In first place, concepts on intra-musical characteristics such as tonality, rhythm, dissonance or musical syntax, which have been object of further investigation, are introduced. Most of the studies found use listening musical extracts, sequences of notes or chords as an experimental situation, with the participants in a resting situation. There are few works with participants performing or imagining musical performance. The reviewed works have been divided into two groups: a) those that analyze the EEGs recorded in different cortical areas separately using frequency domain techniques: spectral power, phase or time domain EEG procedures such as potentials event related (ERP); b) those that investigate the interdependence between different EEG channels to evaluate the functional connectivity between different cortical areas through different statistical or synchronization indices. Most of the aspects studied in music-brain interaction are those related to musical emotions, syntax of different musical styles, musical expectation, differences between pleasant and unpleasant music and effects of musical familiarity and musical experience. Most of the works try to know the topographic maps of the brain centers, pathways and functions involved in these aspects.
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I. Al-Shoshan, Abdullah. "Classification and Separation of Audio and Music Signals." In Multimedia Information Retrieval [Working Title]. IntechOpen, 2020. http://dx.doi.org/10.5772/intechopen.94940.
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This chapter addresses the topic of classification and separation of audio and music signals. It is a very important and a challenging research area. The importance of classification process of a stream of sounds come up for the sake of building two different libraries: speech library and music library. However, the separation process is needed sometimes in a cocktail-party problem to separate speech from music and remove the undesired one. In this chapter, some existed algorithms for the classification process and the separation process are presented and discussed thoroughly. The classification algorithms will be divided into three categories. The first category includes most of the real time approaches. The second category includes most of the frequency domain approaches. However, the third category introduces some of the approaches in the time-frequency distribution. The approaches of time domain discussed in this chapter are the short-time energy (STE), the zero-crossing rate (ZCR), modified version of the ZCR and the STE with positive derivative, the neural networks, and the roll-off variance. The approaches of the frequency spectrum are specifically the roll-off of the spectrum, the spectral centroid and the variance of the spectral centroid, the spectral flux and the variance of the spectral flux, the cepstral residual, and the delta pitch. The time-frequency domain approaches have not been yet tested thoroughly in the process of classification and separation of audio and music signals. Therefore, the spectrogram and the evolutionary spectrum will be introduced and discussed. In addition, some algorithms for separation and segregation of music and audio signals, like the independent Component Analysis, the pitch cancelation and the artificial neural networks will be introduced.
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Sidik, Roziah, Azmul Fahimi Kamaruzaman, and Mohd Jailani Abdullah. "Music Therapy in Medicine of Islamic Civilisation." In Music in Health and Diseases [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.98707.
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Ibn Sina’s (Avicenna) denotes that one of the most effective methods in medical treatment is listening to music, which clearly illustrates the position of music therapy in medical treatment. This chapter discusses four matters: (i) the concept of music therapy as medical treatment, (ii) the function of music therapy as a method of complementary treatment aimed more towards calming and relieving pain, but not as a total cure for the patient, (iii) the hospitals that applied music therapy as treatment, and (iv) the process of applying music therapy in the medical tradition of the Islamic civilisation. Music here includes instrumental music, the sound of singing, adhan (call to prayer), Quranic recitation, as well as sounds of nature, such as of birds singing and of water from a fountain pool. Among the hospitals that applied such therapy was Bimarastan Fez in Morroco, Bimarastan al-Mansuri at Cairo, Egypt, Bimarastan al-Arghuni at Allepo, Syria, Bimarastan Nur al-Din at Damascus City, and Suleymaniye Sifahanesi.
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Agung Ayu Putri Laksmidewi, Anak, and Valentina Tjandra Dewi. "Classic and Traditional Music Role in Cognitive Function and Critically Ill Patients." In Music in Health and Diseases [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.98698.
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Music has been known since the ancestral era, and undoubtedly it has become an integral part of human life. Music has been widely studied, and its purpose encompassed not only as art and recreational but also as therapeutic agents. Listening to music enhances modulation in the mesolimbic pathway and affecting accumbens nucleus (NAc), ventral tegmental area (VTA), hypothalamus, and insula. Evidence support that music could enhance neuroplasticity and stimulate cognitive function. Laksmidewi et al. have already investigated that listening to western classical music and instrumental Balinese flute music therapy improved cognitive function in the elderly. Cognitive improvement by listening to music has been linked to the relationship between the orbitofrontal cortex and the dopaminergic mesocorticolimbic circuit. Besides, musical intervention in severely ill patients showed its advantages in alleviating anxiety and distress symptoms. Patients with mechanical ventilation are prone to high anxiety and stress levels triggered by many factors such as endotracheal tube placement, critical care environment, frequent suctioning, and fear. Non-pharmacological intervention with music therapy is expected to help patients manage their anxiety and distract patients from stressful environments to assist their ventilator weaning effort.
Conference papers on the topic "Music – (Title)"
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"[Title page i]." In 2012 Third FTRA International Conference on Mobile, Ubiquitous, and Intelligent Computing (MUSIC). IEEE, 2012. http://dx.doi.org/10.1109/music.2012.1.
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"[Title page iii]." In 2012 Third FTRA International Conference on Mobile, Ubiquitous, and Intelligent Computing (MUSIC). IEEE, 2012. http://dx.doi.org/10.1109/music.2012.2.
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Downie, J. S., and T. Olson. "Toward melodic access and title uniformity in the chopin early editions music digital library." In the 2004 joint ACM/IEEE conference. ACM Press, 2004. http://dx.doi.org/10.1145/996350.996472.
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Kohn, Karen. "Tip of the Iceberg, Part 1: Choosing What Shows." In Charleston Library Conference. Purdue Univeristy, 2020. http://dx.doi.org/10.5703/1288284317159.
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In the summer of 2019, Temple University’s main library relocated to a new building, in which most of the 1.3 million-item main stacks collection resides in an automated storage and retrieval system (ASRS), and a small portion in open stacks. The open stacks, or browsing collection, includes highly circulating items, new books, and materials with a particular need for browsing. Highly-circulating items were identified by dividing the total number of loans by the number of years the library had owned the book. Materials with a particular need for browsing, generally those with significant visual components such as art and music scores, were also selected by formula, though a lower number of loans was required in order for the book to be added to the browsing title list. The Collections Analysis Librarian merged the lists of highly circulating items and highly visual items and presented the preliminary title list to Subject Specialists. These librarians then suggested categories of books that they felt should be browseable, such as maps and language dictionaries. Identifying new books was more complicated than expected, as the list needed to exclude certain categories of purchases, such as replacements or continuations, that did not belong in the open stacks. All items destined for browsing were marked with bright green stickers near the call number, which served as an effective way for the staff who packed the books to separate them from those going to the ASRS.
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Weinberger, Maor, and Dan Bouhnik. "The Emergence of Music Streaming Applications and Its Effect on Changes in Personal Information Management and Privacy Related Issues [Abstract]." In InSITE 2020: Informing Science + IT Education Conferences: Online. Informing Science Institute, 2020. http://dx.doi.org/10.28945/4523.
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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In addition, we explore the extent of user privacy concern in using music streaming applications. Background: This paper represents the second phase of the article titled Usage Habits in Music Streaming Applications and their Influence on Privacy Related Issues [Research in Progress] (Weinberger & Bouhnik, 2019). Methodology: The research is conducted using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage is a pilot which includes semi-structured interviews with three music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g., changes in classification and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 192 users of music streaming applications (Male – 72.9%, Female – 27.1%; Age: 18-58), aiming to explore personal information management issues and privacy related issues that emerge while using these applications. Contribution: As far as we know, this is the first academic research to investigate the issue of personal information management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications. Findings: We found major changes between personal musical information management in the past and in the present. As most of the participants (85.4%) prefer nowadays to sort musical items in playlists or not to sort them at all. Out of the participants who chose to sort in folders in the past, only 42.7% still do it at present and out of the participants who chose to sort by alphabetical order in the past, only 15.7% do it at present. Also, we found that the participants have medium sense of ownership over the songs being stored on their streaming applications (M=2.78, SD=1.46) and medium sense that those applications may be used as social activity (M=2.75, SD=1.25). Interestingly, the choice of "sophisticated" genres (e.g. Blues, Jazz or Classical) as favorite music genre predicts the perception of using music streaming applications as part of social activity (R2=0.044, p<0.05). As for privacy concern, it was found that although the participants are moderately concerned about privacy within music streaming applications (M=2.67, SD=1.15), they are willing to pay for higher privacy protection services if they will be offered to them (r=0.49, p<0.001). In general, participants were found to be moderately willing to pay for premium services (M=2.44, SD=1.01), with ad-free service (M=3.07, SD=1.54) being the highest ranked premium service. Impact on Society: The research may drive music streaming applications operators to offer premium services that provide various benefits, such as: ad-free usage, higher privacy protection or better social features, as participants are willing to pay for those features. They may also personalize their users by preferred music genres, to adapt the specific service being offered to them.
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Schiavoni, Flávio Luiz, André Gomes, Avner De Paulo, et al. "Alice: Arts Lab in Interfaces, Computers, and Everything Else - Research report (2019)." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10439.
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Located in the Computer Science Department of the Federal University of São João del-Rei, but not limited to just this space, ALICE has emerged as a research group focused on the development of software, art and technologies for the area of computer music and digital arts. Over the time, ALICE became the laboratory to develop technologies to an artistic group, called Orchidea, focused on the creation of digital art, encompassing students from diverse areas, such as Computer Science, Scenic Arts, Architecture and Music in a transdisciplinary context of art creation. In this way, this work aims to present the various initiatives and proposals carried out by the ALICE, addressing the development of technological products, through the tools implemented and the external tools used for teaching and for artistic creation. In addition, this work describes the current researches that are under development by the members of the groups, also highlighting the development of the digital performance titled “O Chaos das 5” and all the aspects and learning that we have obtained so far with this performance.
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Kohl, Marie-Anne. "Die weinende Jury. »Geschlechtslose« Tränen bei globalen Musik-Castingshows?" In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.59.
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Tears are flowing. Whether Yvonne Catterfeld, Kazim as-Sahir, Unati Msenga-na, Liu Huan, Simon Cowell or Lira – they are all part of a jury of global music casting show formats such as The Voice, Idol or Got Talent and show their tears in front of the camera, seemingly ashamed and yet completely uninhibited. Their tears flow in reaction to ‘particularly soulful’ music titles or to the candidates’ tragic personal stories, paired with the ‘right’ song selection. The display of great emotions is an essential element of reality TV formats. With Sara Ahmed, they can be understood in the sense of an ‘affective economy’ as an effect of their circulation, their staging as a specific ‘emotional style’ of dealing with emotions (Eva Illouz). The circulation of affects in casting shows is a global one, since the formats, developed in Europe, have produced local versions in over 60 countries worldwide. Emotions play an important role in the successful localization of the formats and define a complex area of conflict between a sensitization to socio-cultural characteristics and the ‘reproduction of culturalistic concepts’ (Laura Sūna) or clichés. In European cultural history, tears have developed a special significance as guarantors of the authenticity of empathy (Sigrid Weigel), and are generally associated with femininity, however at the same time have been film-historically recoded as ‘gender-neutral’ (Renate Möhrmann). Keeping in mind that all these casting show formats have been exported from Europe, these observations are of special interest, especially since one can see men and women crying equally in the Arabic, German or South African versions of e. g. The Voice. This article questions the concurrence of musical performance, display of tears, gender performance and the translocal dramaturgy of music casting shows.