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Journal articles on the topic 'Web platforms for music listening'
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Chandra Dewi, Maharsiwi Diah, and Muhamad Sofian Hadi. "Web-Based Music Study in Boosting Active Listening." English Language in Focus (ELIF) 2, no. 2 (April 6, 2020): 97. http://dx.doi.org/10.24853/elif.2.2.97-102.
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The purpose of this research was to prove that using a web-based music study is effective in boosting active listening. This research conducted in Private Elementary School Khalifa IMS Tangerang Selatan. The population of this research is third-grade students, and the sample is P3C consists of 25 students. The method of this research is quantitative method and using pre-experimental design. To collect the data, the writer used a pre-test, and post-test that given to the students. The resulting score of the data indicated that, the total score of students in the pre-test was 1338 with the average were 53.52. The lowest score of the pre-test was 37 and the highest score was 60. The total score of students in the post-test was 2211 with the average were 88.44. The lowest score of the post-test was 80 and the highest score was 97. It is significantly different from the result of pre-test and post-test scores. The results of the pre-test and post-test were calculated by using manual statistically. The calculation indicated that t – observe were 4.79 with t – tables were 1.70 and the significance 0.05. Therefore, the alternative hypothesis (H1) is accepted and the null hypothesis (H0) is rejected. The writer concluded that using Web-based music studies in teaching English was effective to improve students’ listening skills.
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Galloway, Goldschmitt, and Harper. "Guest Editors' Introduction: Platforms, Labor, and Community in Online Listening." American Music 38, no. 2 (2020): 125. http://dx.doi.org/10.5406/americanmusic.38.2.0125.
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Pearce, Elizabeth C., Rajshri Mainthia, Anne M. Tharpe, and Roland D. Eavey. "VH1 and CMT Web Surveys Reveal Music-Listening Behavior." Otolaryngology–Head and Neck Surgery 147, no. 2_suppl (August 2012): P52—P53. http://dx.doi.org/10.1177/0194599812451438a53.
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Fitria, Tira Nur. "Investigating the Emergence of Digital Platforms for Listening Learning Proficiency." Al-Lisan 6, no. 2 (September 5, 2021): 209–24. http://dx.doi.org/10.30603/al.v7i2.2217.
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This study investigates the use of any platforms in English language teaching and learning, especially in listening skills. This research design is qualitative. From the result, it shows that some technologies available both online or offline include applications or platforms that provide many choices for listening to English, they are. 1) Music platform. These platforms can be found in PlayStore, such as Joox and Spotify recommends songs for listening skills. 2) Youtube channel. Many YouTube channels for learning English listening skills include 1) Voice of America (VOA), BBC Learning English, Learn English with TV Series, English with Lucy, and Oxford Online English. 3) Podcasts. Both BBC (British Broadcasting Corporation) and VoA (Voice of America). These Podcasts offer listening skills. The other podcasts are “The English We Speak, Podcast in English, Better at English, Luke’s English Podcast, Espresso English Podcast, Anchor FM” etc. 4) Websites that are pretty representative in practicing the listening skills such as Sound English, ESL-Lab, English listening, Ello, learn English British Council, Daily ESL, Story Nory, Story Line, which can be accessed. Learning English through several applications above can be an alternative for students in practicing and improving their English listening skills. Listening exercises can be carried out by using interesting listening strategies when learning English. It depends on the teachers/lecturers who teach listening subjects and the students who learn English materials.
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Luiz Schiavoni, Flávio, Luan Luiz Gonçalves, and José Mauro da Silva Sandy. "Mosaicode and the visual programming of web application for music and multimedia." Revista Música Hodie 18, no. 1 (June 19, 2018): 132–46. http://dx.doi.org/10.5216/mh.v18i1.53577.
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The development of audio application demands a high knowledge about this application domain, traditional program- ming logic and programming languages. It is possible to use a Visual Programming Language to ease the application development, including experimentations and creative exploration of the language. In this paper we present a Visual Programming Environment to create Web Audio applications, called Mosaicode. Different from other audio creation platforms that use a visual approach, our environment is a source code generator based on code snippets to create complete applications.
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Hodgson, Thomas. "Spotify and the democratisation of music." Popular Music 40, no. 1 (February 2021): 1–17. http://dx.doi.org/10.1017/s0261143021000064.
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AbstractThe corporate rhetoric of streaming platforms often assumes a tight link between their scale-making ambitions on the one hand and the creative interests of musicians on the other. In practice, most musicians recognise that claims of musical ‘democratisation’ are deeply flawed. The creative ambivalence this produces is an understudied pillar in scholarship on digital music platforms and suggests that these systems can be more creatively constrictive than empowering. Based on ethnographic research among Spotify engineers, record labels and musicians, this article explores how music recommendation systems become inculcated with a corporate rhetoric of ‘scalability’ and considers, following Anna Tsing, how this impacts musical creativity further down the value chain. I argue that the ‘creative ambivalence’ that these technologies produce should be more fully understood as woven into a complex web of social relations and corporate interests than prevailing claims of technological objectivity and ‘democratisation’ suggest.
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Panteleeva, Yulia, Grazia Ceschi, Donald Glowinski, Delphine S. Courvoisier, and Didier Grandjean. "Music for anxiety? Meta-analysis of anxiety reduction in non-clinical samples." Psychology of Music 46, no. 4 (July 4, 2017): 473–87. http://dx.doi.org/10.1177/0305735617712424.
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The beneficial influence of listening to music on anxiety states has often been discussed. However, the empirical evidence and theoretical mechanisms underlying these effects remain controversial. The aim of this study is to conduct a meta-analysis of randomized controlled trials on the effects of music on anxiety in healthy individuals. A comprehensive search in the PsycINFO, Cochrane Library, PubMed and Web of Knowledge databases produced 19 articles complying with the eligibility criteria. The main results of the study reveal an overall decrease in self-reported anxiety ( d = −0.30, 95% CI [–0.55, –0.04]); however, the decrease was not significant for psychophysiological signals related to anxiety. Nevertheless, in several cases, listening to music greatly affects blood pressure, cortisol level and heart rate. The great heterogeneity of the studies and the lack of rigorous methodological standards, assessed with CONSORT guidelines, may have biased the results. Thus, listening to music should be cautiously considered as a part of more complex music-based psychological interventions for anxiety regulation. Nonetheless, as discussed in this article, the role of underlying processes (spontaneous memory recollections, mental imagery) must not be neglected. Further research perspectives are discussed.
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Mills, Roger, and Kirsty Beilharz. "Listening Through the Firewall: Semiotics of sound in networked improvisation." Organised Sound 17, no. 1 (February 14, 2012): 16–27. http://dx.doi.org/10.1017/s1355771811000471.
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Maturation of network technologies and high-speed broadband has led to significant developments in multi-user platforms that enable synchronous networked improvisation across global distances. However sophisticated the interface, nuances of face-to-face communication such as gesture, facial expression, and body language are not available to the remote improviser. Sound artists and musicians must rely on listening and the semiotics of sound to mediate their interaction and the resulting collaboration. This paper examines two case studies of networked improvisatory performances by the inter-cultural tele-music ensemble Ethernet Orchestra.It focuses on qualities of sound (e.g. timbre, frequency, amplitude) in the group's networked improvisation, examining how they become arbiters of meaning in dialogical musical interactions without visual gestural signifiers. The evaluation is achieved through a framework of Distributed Cognition, highlighting the centrality of culture, artefact and environment in the analysis of dispersed musical perception. It contrasts salient qualities of sound in the groups’ collective improvisation, highlighting the interpretive challenges for cross-cultural musicians in a real-time ‘jam’ session. As network technologies provide unprecedented opportunities for diverse inter-cultural collaboration, it is sound as the carrier of meaning that mediates these new experiences.
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Steinbrecher, Bernhard. "Musikhören im Zeitalter Web 2.0. Theoretische Grundlagen und empirische Befunde/Music Listening in the Web 2.0 Age. Theoretical Principles and Empirical Findings." Popular Music and Society 41, no. 5 (September 13, 2018): 574–75. http://dx.doi.org/10.1080/03007766.2018.1521778.
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Nadezhkina, E. S. "Chinese Social Media Platforms and Microblogging in the Context of Public Diplomacy." Communicology 8, no. 1 (March 31, 2020): 167–79. http://dx.doi.org/10.21453/2311-3065-2020-8-1-167-179.
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The term “digital public diplomacy” that appeared in the 21st century owes much to the emergence and development of the concept of Web 2.0 (interactive communication on the Internet). The principle of network interaction, in which the system becomes better with an increase in the number of users and the creation of user-generated content, made it possible to create social media platforms where news and entertainment content is created and moderated by the user. Such platforms have become an expression of the opinions of various groups of people in many countries of the world, including China. The Chinese segment of the Internet is “closed”, and many popular Western services are blocked in it. Studying the structure of Chinese social media platforms and microblogging, as well as analyzing targeted content is necessary to understand China’s public opinion, choose the right message channels and receive feedback for promoting the country’s public diplomacy. This paper reveals the main Chinese social media platforms and microblogging and provides the assessment of their popularity, as well as possibility of analyzing China’s public opinion based on “listening” to social media platforms and microblogging.
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PINARBAÅžI, Fatih. "DEMYSTIFYING MUSICAL PREFERENCES AT TURKISH MUSIC MARKET THROUGH AUDIO FEATURES OF SPOTIFY CHARTS." TURKISH JOURNAL OF MARKETING 4, no. 3 (December 25, 2019): 264–79. http://dx.doi.org/10.30685/tujom.v4i3.62.
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Online music streaming services are one of the important actors in music consumption for today’s consumers. In addition to widespread use of mobile devices, many changes in the patterns of music consumption are witnessed such as the purchase of single tracks instead of albums, listening to music on different platforms, and personalized music consumption options. This study aims to examine the concept of music consumption in Turkey through audio characteristics of popular songs. Top 200 popular song-lists for 6 months period are chosen as sample and audio characteristics provided by Spotify API service regarding 676 unique songs are analyzed. Following descriptive statistics of Turkey Music Market, clustering methodology is employed and three different clusters for songs are concluded. Finally, decision tree methodology is employed to classify the dataset with popularity scores and audio characteristics together, while loudness and energy characteristics are found as significant classifiers.
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Bonini, Tiziano, and Alessandro Gandini. "“First Week Is Editorial, Second Week Is Algorithmic”: Platform Gatekeepers and the Platformization of Music Curation." Social Media + Society 5, no. 4 (October 2019): 205630511988000. http://dx.doi.org/10.1177/2056305119880006.
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This article investigates the logics that underpin music curation, and particularly the work of music curators, working at digital music streaming platforms. Based on ethnographic research that combines participant observation and a set of interviews with key informants, the article questions the relationship between algorithmic and human curation and the specific workings of music curation as a form of platform gatekeeping. We argue that music streaming platforms in combining proprietary algorithms and human curators constitute the “new gatekeepers” in an industry previously dominated by human intermediaries such as radio programmers, journalists, and other experts. The article suggests understanding this gatekeeping activity as a form of “algo-torial power” that has the ability to set the “listening agendas” of global music consumers. While the power of traditional gatekeepers was mainly of an editorial nature, albeit data had some relevance in orienting their choices, the power of platform gatekepeers is an editorial power “augmented” and enhanced by algorithms and big data. Platform gatekeepers have more data, more tools to manage and to make sense of these data, and thus more power than their predecessors. Platformization of music curation then consists of a data-intense gatekeeping activity, based on different mixes of algo-torial logics, that produces new regimes of visibility. This makes the platform capitalistic model potentially more efficient than industrial capitalism in transforming audience attention into data and data into commodities.
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Pérez-Carmona, José Luis, Alejandro Vicente-Bújez, María Teresa Díaz-Mohedo, and José Luis Ortega-Martín. "Learning Spanish as a foreign language through Music." Aula Abierta 50, no. 2 (June 24, 2021): 643–52. http://dx.doi.org/10.17811/rifie.50.2.2021.643-652.
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Music has multiple characteristics that make it an ideal tool for teaching and learning languages. Although some research has been done on this subject, there are still many areas to explore. This quantitative research presents survey data from 178 students of Spanish as a Foreign Language to better understand how adult learners use music and other media in their practice of Spanish. Non-parametric statistical tests were carried out. Data showed participants used music more frequently than other media as a means to practice Spanish outside of the classroom, despite having difficulties understanding the lyrics. Also, musical training was found to be an indicator of a higher level of lyrical comprehension. It was concluded that the growing popularity of Spanish language music, changes in music consumption, and the democratization of listening platforms— along with the ability that songs have to generate well-being and to create links, as well as to represent the target culture—were decisive factors in the use of songs in the learning of Spanish as a foreign language.
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Egermann, Hauke, and Stephen McAdams. "Empathy and Emotional Contagion as a Link Between Recognized and Felt Emotions in Music Listening." Music Perception 31, no. 2 (December 2012): 139–56. http://dx.doi.org/10.1525/mp.2013.31.2.139.
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Previous studies have shown that there is a difference between recognized and induced emotion in music listening. In this study, empathy is tested as a possible moderator between recognition and induction that is, on its own, moderated via music preference evaluations and other individual and situational features. Preference was also tested to determine whether it had an effect on measures of emotion independently from emotional expression. A web-based experiment gathered from 3,164 music listeners emotion, empathy, and preference ratings in a between-subjects design embedded in a music-personality test. Stimuli were a sample of 23 musical excerpts (each 30 seconds long, five randomly assigned to each participant) from various musical styles chosen to represent different emotions and preferences. Listeners in the recognition rating condition rated measures of valence and arousal significantly differently than listeners in the felt rating condition. Empathy ratings were shown to modulate this relationship: when empathy was present, the difference between the two rating types was reduced. Furthermore, we confirmed preference as one major predictor of empathy ratings. Emotional contagion was tested and confirmed as an additional direct effect of emotional expression on induced emotions. This study is among the first to explicitly test empathy and emotional contagion during music listening, helping to explain the often-reported emotional response to music in everyday life.
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Jones, Ellis. "The role of mashup music in creating Web 2.0’s democratic promise." Convergence: The International Journal of Research into New Media Technologies 27, no. 4 (February 8, 2021): 1112–28. http://dx.doi.org/10.1177/1354856520983758.
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This article employs Stuart Hall’s concept of ‘articulation’ to show how, in the mid-2000s, a loose coalition of tech activists and commentators worked to position mashup music as ‘the sound of the Internet’. Key aesthetic characteristics of mashups were utilized to present Web 2.0 as a specific kind of democratic, participatory media environment – one that had the power to dethrone old social institutions, and to render various kinds of borders and boundaries redundant. This short-lived articulation between mashup and the Internet has had significant benefits for contemporary platforms that have made their fortune on user participation; it has been less beneficial for the longevity of mashup as a genre. Thus, this article inverts the standard presentation of mashup music and network technologies. Generally presented as a musical culture that needed the Internet, mashup can be more fruitfully understood as a music culture that the Internet needed. This reformulation provides cause to question our contemporary relationship to ‘digital optimism’ more generally.
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Manjeet Singh and Namita Goyal. "Collaborative Filtering Movie Recommendation System." International Journal for Modern Trends in Science and Technology 6, no. 12 (January 1, 2021): 471–73. http://dx.doi.org/10.46501/ijmtst061291.
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Recommendation System plays an important role in today’s era of e-commerce. From OTT platforms to the shopping application and music application everywhere we see that after watching a movie or buying an item, listening a song we are recommended with some other movie or item or song. Most of the time we select our next movie, item or song from the recommended one. In this paper I will give you a brief description of collaborative and user-based filtering. The data used in this research is taken from Movie Lens. The result obtained contains some movie recommendations.
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Chen, Lixia, Fang Wang, Jianhua Li, Li Cui, Xiaoli Liu, Cuihua Han, Siqi Qu, Liang Wang, and Daihong Ji. "Use of music to enhance sleep and psychological outcomes in critically ill patients: a protocol for a systematic review and meta-analysis." BMJ Open 11, no. 5 (May 2021): e037561. http://dx.doi.org/10.1136/bmjopen-2020-037561.
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IntroductionMusic listening is used as a non-pharmacological intervention in various populations with positive results; however, evidence for its effect on sleep and psychological outcomes in critically ill patients remains unclear. It is essential to understand the impact of music listening for critically ill patients to optimise care and minimise the risk for harm. We will assess whether music listening improves sleep and psychological outcomes in critically ill patients.Methods and analysisWe will systematically search scientific databases for relevant studies, including PubMed, Embase, CINAHL, PsycINFO, Web of Science, Scopus, ProQuest, the Cochrane Central Register of Controlled Trials, China Biological Medicine Database, China National Knowledge Infrastructure Library, Wan fang databases, VIP Database for Chinese Technical Periodicals and the Chinese Clinical Trial Registry. Databases will be searched for articles published from inception to 10 June 2020. Music therapy journals and reference lists in some articles will be hand-searched. Grey literature will also be searched. We will include randomised and quasi-randomised controlled trials that used music listening to improve sleep and psychological outcomes in critically ill patients. The primary outcomes will be sleep-related outcomes, and secondary outcomes will be anxiety and depression scores and physiological outcomes. Two reviewers will independently verify study eligibility and methodological quality; disagreements will be resolved by a third reviewer or through discussion. The risk of bias will be independently determined using the Cochrane Risk of Bias Tool. The Consolidated Standards of Reporting Trials checklist will be used to examine the quality of included papers. Data will be extracted from eligible studies by two researchers. RevMan V.5.3 will be used for meta-analysis.Ethics and disseminationThis work will review existing trial data and will not introduce new patient data or interventions; therefore, ethics committee approval is not required. We will disseminate this protocol in a related peer-reviewed journal.PROSPERO registration numberCRD42019147202.
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Barrios-Rubio, Andrés. "Radio, music and podcast in the consumption agenda of Colombian adolescents and youth in the digital sonosphere." Communication & Society 34, no. 3 (May 31, 2021): 31–46. http://dx.doi.org/10.15581/003.34.3.31-46.
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This article identifies the peculiarities of audio consumption (radio, music and podcast) by Colombian adolescents and youth on their screen devices, especially the smartphone. The irruption in the digital ecosystem of radio and sound platforms redefines the industry’s relationship with new audiences. The body of research, classified into three age groups (puberty –10 to 14 years–, middle –15 to 19 years–, and full –20 to 24 years–), is made up of students in basic secondary education and university students who were consulted through a quantitative methodology (700 surveys) and a qualitative one (8 focus groups with 48 participants), which made it possible to recognize the routines and the sound agenda of the subjects of study. The results of the research outline the profile of the Colombian audio consumer, whose habits of listening to the radio alternate times of attention to the broadcast on air with the consumption of apps, websites and music distribution platforms, which evidences their digital skills and the creation of a menu that combines music, sports and entertainment content. It is a media diet built on the mediation of technological devices and the influence of family and virtual communities. The sound component is the backbone of the relationship between industry and listener, but visual and iconographic elements are added to reinforce the bonds with brand, media and producer, regardless of where audio meets audience.
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Warner, Marina. "Out loud: The experience of literature in the digital space." Book 2.0 10, no. 2 (December 1, 2020): 245–55. http://dx.doi.org/10.1386/btwo_00033_1.
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In the present climate of discouragement that threatens all of us who hold the Humanities dear, one of the worst threats, or so it seems, has been the dumbing down consequent on digital media and the rise of hate speech on digital platforms. I want to offer some countervailing reflections and hopes, and explore the activity and the potential of the World Wide Web as a forum for literature; in spite of the instinctive recoil and bristling horror I feel for social media as currently used, it is possible to consider and reframe the question of reading on the web. Doing so leads to the questions, what is literature and can literature be found beyond the printed book? It is my contention – perhaps my Candide-like hope – that the internet is spurring writers on to creating things with words that are not primarily aimed at silent readers but at an audience that is listening and viewing and feeling, and maybe also reading all at the same time, participating in word events channelled through electronic media.
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Sostaric, Ada. "On the status of music and musical instruments in Arabic culture after the advent of Islam." Muzikologija, no. 16 (2014): 155–72. http://dx.doi.org/10.2298/muz1416155s.
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This article bases its arguments mainly on data found in secondary literature about the propriety of music in Arabic culture after the advent of Islam. One of the oldest sources in Arabic on the subject is Damm al-mal?h? (The Condemnation of Instruments of Diversion). In it, the author, Ibn Ab? al-Duny? (823-894) condemned listening to music and musical instruments. Subsequently, many books addressed the question of whether music is illicit (ar. har?m). Western scholars defined this corpus of literature as a kind of polemic about the permissibility of music and musical instruments in Islamic culture. Since there is no verse (ar. ?ya) in the Qur??n which explicitly forbids or allows music, and since, at the same time, the had?t literature abounds with contradictory statements about the practice of the prophet Muhammad regarding listening to music and musical instruments, this question continues to resurface, either in the media or on web pages specifically devoted to the issue. This topic is also quite interesting in terms of the reflexions one can encounter in the Muslim areas of the ex-Yugoslav region. At the same time, the article touches upon the special place that the Qur??n recitation (ar. til?wat al-Qur??n) and Islamic call to prayer (ar. ad?n) have in Muslim communities. We often find both of them in chapters on religious music, and can, for instance, hear Gorans from Kosovo say (colloquially) that one sings the call to prayer. Nevertheless, although both the Recitation and the call to prayer employ the system of maq?ms found in secular forms of music, in religious Islamic circles they have never been defined as music, nor are they understood as such in Islamic public opinion. It has been said innumerable times that it is not the (listening to) music per se that is forbidden, but rather the circumstances surrounding music, sometimes associated with the consumption of alcohol or similar behaviour, which leads to transgression of Islamic ethical norms. And even though music - as suggested by Henry George Farmer-was to be found in the private, public, and religious life of the Arabs from pre-Islamic times to the present (Farmer 1967: 17), and even despite it not being forbidden in Islam, the status of the professional musician was never truly regarded as respectable.
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Paney, Andrew S., and Nathan O. Buonviri. "Developing Melodic Dictation Pedagogy: A Survey of College Theory Instructors." Update: Applications of Research in Music Education 36, no. 1 (February 13, 2017): 51–58. http://dx.doi.org/10.1177/8755123316686815.
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The purpose of this study was to identify pedagogical approaches to melodic dictation used by college music theory instructors at National Association of Schools of Music accredited institutions. Instructors ( N = 270) from 45 states responded to an online survey targeting melodic dictation instruction in their freshman theory courses. Results indicated that instructors: Chose pitch systems that emphasized scale degree function and rhythm systems that emphasized the meter, acknowledged the difficulty of compound meter for students, and advocated listening to a dictation completely before beginning to write. Respondents also listed the textbooks, software programs, and Web sites they used to supplement instruction and the types of music they chose for dictation assessments. Their replies to free-response questions highlighted several challenges of teaching dictation and aural skills in general. Knowledge of these instructional trends could be helpful when evaluating K–12 music curricula, especially for students who plan to major in music in college. The results of this study may benefit both college instructors and K–12 music educators in that their students face similar challenges and seek corresponding solutions.
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Mittal, Deepak Kumar. "NOWADAYS: THE ROLE OF INTERNET FOR PROPAGATION AND PROLIFERATION OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3391.
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In present day internet play a very important role for propagation and proliferation of music in India and world-wide. With the help of internet media we can get each and every information about the music at home. Many websites and softwares are available on internet browsing for music searching, watching, listening, reading and learning.Google search are best source for searching and type documents of music, YouTube (youtube is a video-sharing website), Skype (Skype is a tele communications application software that specializes in providing video chat and voice calls from computers via the Internet, Online radio (All major Indian and others FM radio stations ready for you to enjoy music and much more), E-Journals (Electronic journals are scholarly journals or intellectual magazines that can be accessed via electronic transmission. In practice, this means that they are usually published on the Web), Online and Downloading websites, Social network websites (for exchange messages, post status updates and photos, share videos and receive notifications when others update their profiles, Marketing websites for purchasing music products and accessories
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Goebel, Rolf J. "The Soul of the Phonograph: Media-Technologies, Auditory Experience, and Literary Modernism in the Age of COVID-19." Humanities 9, no. 3 (August 16, 2020): 82. http://dx.doi.org/10.3390/h9030082.
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The unpredictable duration of the COVID-19 pandemic necessitates renewed reflection on our collective reliance on video platforms such as Zoom and YouTube for telecommunication and music listening purposes, which have virtually filled the gap left by widely cancelled live performances. The affectively close relationship we forge with these services today echoes a recurrent theme in literary modernism: the tendency to endow early mechanical sound reproduction machines such as the phonograph and the record player with quasi-human subjectivity, emotions, and agency. This historical topos, in turn, anticipates posthumanism’s fascination with the seamless interface between machine-intelligence and its human users. Thinking about these cultural continuities may help the Humanities articulate the crucial role of media technologies and literary discourses under exceptional circumstances.
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Cruz, Gabriela. "Laughing at History: the third act of Meyerbeer' L'Africaine." Cambridge Opera Journal 11, no. 1 (March 1999): 31–76. http://dx.doi.org/10.1017/s0954586700005516.
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A mythical giant, a Malagasy slave, a song, an accomplished baritone, an outraged critic; these seemingly incompatible figures are bound together in the Paris premiere of Giacomo Meyerbeer's L'Africaine in 1865. They are the fundamental elements of my story of the opera's third act, a narrative web binding together early modern nautical history, epic poetry, grand-opera dramaturgy, and the nineteenth-century politics of operatic performance and listening in an exploration of how the opera's rather fictionalised account of Vasco da Gama's first sea voyage to India five centuries ago bears witness to the strength of the historicist project in grand opera.
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Shryane, Jennifer. "‘A small Utopia’: Unterstützer not Anhänger. Einstürzende Neubauten's Supporter Initiative." Popular Music 29, no. 3 (October 2010): 373–96. http://dx.doi.org/10.1017/s0261143010000462.
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AbstractThis paper argues that the Internet strategy created and used by Berlin musicians, Einstürzende Neubauten, emulates many aspects of Attali's (2006) hopes for the future of music – in particular, the creation of new social relations through a participatory listening and, in Chris Cutler's words (2008), to be ‘research as well as entertainment’. I set out to show that Neubauten's use of the world wide web made their Supporter Initiative a radical innovation. My evidence is that their Subskribentenmodell provided access during 2002–2007 to web-streamed ‘open studio’ rehearsals which facilitated a new relationship between artist and recipient in its declaration of fallibility and attention to feedback. Secondly, I argue that Neubauten's international network of 2,000 Unterstützers (not Anhängers) became a virtual and actual ‘extended family’ who created the cottage industry ethos necessary for successful independence. This family not only supported the band financially and contributed to artistic and practical decisions – as with the DIY Berlin concert Grundstück – but also provided grass roots knowledge and skill for independent dissemination and touring (in 2008) of Alles Wieder Offen. Finally, this anti-record company model now offered a paradigm to ‘infect’ other fringe artists and hence upheld Beuysian/Cageian social aims of art.
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de Fleurian, Rémi, and Marcus T. Pearce. "The Relationship Between Valence and Chills in Music: A Corpus Analysis." i-Perception 12, no. 4 (July 2021): 204166952110246. http://dx.doi.org/10.1177/20416695211024680.
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Chills experienced in response to music listening have been linked to both happiness and sadness expressed by music. To investigate these conflicting effects of valence on chills, we conducted a computational analysis on a corpus of 988 tracks previously reported to elicit chills, by comparing them with a control set of tracks matched by artist, duration, and popularity. We analysed track-level audio features obtained with the Spotify Web API across the two sets of tracks, resulting in confirmatory findings that tracks which cause chills were sadder than matched tracks and exploratory findings that they were also slower, less intense, and more instrumental than matched tracks on average. We also found that the audio characteristics of chills tracks were related to the direction and magnitude of the difference in valence between the two sets of tracks. We discuss these results in light of the current literature on valence and chills in music, provide a new interpretation in terms of personality correlates of musical preference, and review the advantages and limitations of our computational approach.
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Farbood, Morwaread M. "A Parametric, Temporal Model of Musical Tension." Music Perception 29, no. 4 (April 1, 2012): 387–428. http://dx.doi.org/10.1525/mp.2012.29.4.387.
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tension in music is a high-level concept that is difficult to formalize due to its complex, multidimensional nature. This paper proposes a quantitative model of musical tension that takes into account the dynamic, temporal aspects of listening. The model is based on data from two experiments. The first was a web-based study that was designed to examine how individual musical parameters contribute directly to a listener's overall perception of tension and how those parameters interact. The second study was an in-lab experiment in which listeners were asked to provide continuous responses to longer, more complex musical stimuli. Both studies took into account a number of musical parameters including harmony, pitch height, melodic expectation, dynamics, onset frequency, tempo, meter, rhythmic regularity, and syncopation. As an initial step, linear and nonlinear models were explored for predicting tension given analytical descriptions of various musical parameters. These models were tested on the continuous-response data from Experiment 2 and shown to be insufficient. An alternate model was proposed based on the notion of a moving perceptual window in time and the concept of trend salience. High correlation with empirical data indicates that this parametric, temporal model accurately predicts tension judgments for complex musical stimuli.
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Wang, Lina, and Ruying Huang. "English Teaching Platform Based on Online Education Technology and Licensure and Master's Program Technology." International Journal of Emerging Technologies in Learning (iJET) 14, no. 16 (August 29, 2019): 154. http://dx.doi.org/10.3991/ijet.v14i16.11150.
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This paper attempts to build a web-based English teaching platform that improves students’ efficiency in English learning. After reviewing the current theories on teaching platforms, the author combined online education technology and the Licensure and Master’s Program (LAMP) technology into a mixed teaching mode, which inherits the advantages of traditional teaching and network technologies. In addition, an English teaching platform was designed for the instruction and exercises for English courses. The platform is operated jointly by students, teachers and administrators. The research shows that the English teaching system, through the integration between information technology and LAMP, could be turned into a resource module to be used as a plug-in for online education; the proposed English teaching platform is a new-generation system for the teaching and learning of English reading, grammar, speaking and listening. The proposed platform greatly improves the teaching methods and the learning efficiency, laying a theoretical basis for the construction of the new teaching system platform.
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Sánchez-Moreno, Diego, Vivian F. López Batista, M. Dolores Muñoz Vicente, Ana B. Gil González, and María N. Moreno-García. "A Session-Based Song Recommendation Approach Involving User Characterization along the Play Power-Law Distribution." Complexity 2020 (June 2, 2020): 1–13. http://dx.doi.org/10.1155/2020/7309453.
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In recent years, streaming music platforms have become very popular mainly due to the huge number of songs these systems make available to users. This enormous availability means that recommendation mechanisms that help users to select the music they like need to be incorporated. However, developing reliable recommender systems in the music field involves dealing with many problems, some of which are generic and widely studied in the literature while others are specific to this application domain and are therefore less well-known. This work is focused on two important issues that have not received much attention: managing gray-sheep users and obtaining implicit ratings. The first one is usually addressed by resorting to content information that is often difficult to obtain. The other drawback is related to the sparsity problem that arises when there are obstacles to gather explicit ratings. In this work, the referred shortcomings are addressed by means of a recommendation approach based on the users’ streaming sessions. The method is aimed at managing the well-known power-law probability distribution representing the listening behavior of users. This proposal improves the recommendation reliability of collaborative filtering methods while reducing the complexity of the procedures used so far to deal with the gray-sheep problem.
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Martinez-Canas, Ricardo, Pablo Ruiz-Palomino, and Raul del Pozo-Rubio. "Crowdfunding And Social Networks In The Music Industry: Implications For Entrepreneurship." International Business & Economics Research Journal (IBER) 11, no. 13 (December 19, 2012): 1471. http://dx.doi.org/10.19030/iber.v11i13.7449.
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With the development of new communication technologies and the unstoppable increase of social networks some microfinance platforms are becoming essential tools for entrepreneurs. This phenomenon is known as crowdfunding, crowdfinancing or crowd sourced capital, what mainly implies that entrepreneurs obtain the funds or capital through a collective cooperation usually via a web platform. For social networks this process is based on the trust of many promoters and communities of interest that pool together their money for supporting projects or initiatives. Despite these crowdfunding activities occurs for any variety of purposes as different as political campaigns or creating open source software in this paper we are going to focus on the role for music industry. For musicians and music promoters crowdfunding is being used as a mechanism for putting into the market their creative work (records, video clips, concerts and other promotional releases. Therefore, in this paper we are going to study the origins, concept, and models to finally show an example for the music industry analyzing the concrete case of a well-known Spanish platform.
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Phelan, Peggy. "“Just Want to Say”: Performance and Literature, Jackson and Poirier." PMLA/Publications of the Modern Language Association of America 125, no. 4 (October 2010): 942–47. http://dx.doi.org/10.1632/pmla.2010.125.4.942.
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In August 2009, when Richard Poirier died, I was mourning the death of Michael Jackson, with an intensity that surprised me. While I had admired Jackson's talent and followed his career with steady interest for decades, my grief was out of proportion to my feeling for him when he was alive. I felt caught up in a psychic complex that had hold of the wrong object but was determined, nonetheless, to play itself out. Puzzled by the intensity of my grief, I began reading everything about Jackson I could find—books, journalism, Web postings—while listening intently to his music, trying to hear something in it that would console me and justify my frenzied mourning. But instead of hearing that, I heard Poirier had also died.
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Fleischer, Rasmus. "If the Song has No Price, is it Still a Commodity? : Rethinking the Commodification of Digital Music." Culture Unbound 9, no. 2 (October 31, 2017): 146–62. http://dx.doi.org/10.3384/cu.2000.1525.1792146.
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In music streaming services like Spotify, discrete pieces of music no longer has a price, as has traditionally been the case in music retailing, both analog and digital. This article discusses the theoretical and practical implications of this shift towards subscriptions, starting from a critical review of recent literature dealing with the commodification of music. The findings have a relevance that is not limited to music or digital media, but also apply more broadly on the study of commodification. At the theoretical level, the article compares two ways of defining the commodity, one structural (Marx), one situational (Appadurai, Kopytoff), arguing for the necessity of a theory that can distinguish commodities from all that which is not (yet) commodified. This is demonstrated by taking Spotify as a case, arguing that it does not sell millions of different commodities to its users, but only one: the subscription itself. This has broad economic and cultural implications, of which four are highlighted: (1) The user of Spotify has no economic incentive to limit music listening, because the price of a subscription is the same regardless of the quantity of music consumed. (2) For the same reason, Spotify as a company cannot raise its revenues by making existing customers consume more of the product, but only by raising the number of subscribers, or by raising the price of a subscription. (3) Within platforms like Spotify, it is not possible to use differential pricing of musical recordings, as has traditionally been the case in music retail. Accordingly, record companies or independent artists hence can no longer compete for listeners by offering their music at a discount. (4) Within the circuit of capital. Spotify may actually be better understood as a commodity producer than as a distributor, implying a less symbiotic relationship to the recorded music industry.
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Saragih, Harriman. "Co-creation experiences in the music business: a systematic literature review." Journal of Management Development 38, no. 6 (July 8, 2019): 464–83. http://dx.doi.org/10.1108/jmd-11-2018-0339.
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Purpose Various literature have contextualised value co-creation concept in the music business and how that notion puts into practice in benefitting the actors in this particular business. The purpose of this paper is to review the extant literature to comprehend regarding the applicability of co-creation in music business which can be used to map and evaluate strategies used to stimulate and exercise co-creation experiences; focus from such co-creational activities; stages during which co-creation occurred; channels in which the music as cultural product is delivered; and the co-creative platform used that can be useful for practitioners as well as scholars in the music business. Design/methodology/approach Of the available academic databases that exist on the online platform, this study takes into account six scholarly databases, i.e., Emerald, EBSCO, ISI Web of Sciences, ProQuest, ScienceDirect and Scopus. Findings Having filtered through the initial 113 papers that fulfil the predetermined criteria, this study discovers 33 empirical journal and proceeding papers that have discussed the co-creation concept in the music context from 2011 to 2017. Practical implications The review practically implies that practitioners as well as scholars in the music or marketing field can first begin with planning and understanding the right strategy, focus, stage, channels and platforms before executing co-creational activities in the music business. This paper also speaks to the broader literature, particularly in the creative industries, that value co-creation can serve to be used to obtain monetary, experience or social value in the market using virtual and physical co-creative platforms. Other sectors in the creative industries can also infer that co-creation can be promoted and exercised through various orchestration strategies in several stages of the value chain. Originality/value This paper is the first to integrate five practical criteria as to how co-creation is applied and contextualised in the music business. It also contributes to the academic literature by presenting an exhaustive selective review of the value co-creation concept and its applicability to the music business.
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Balaji, Murali, and Thomas Sigler. "Glocal riddim: cultural production and territorial identity in Caribbean music videos." Visual Communication 17, no. 1 (September 26, 2017): 91–111. http://dx.doi.org/10.1177/1470357217727675.
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Over the past two decades, several musical genres have transcended their Caribbean origins to achieve global recognition and success. Among these are soca, dancehall and reggaeton, all forms that had been inextricably tied to native cultural expressions, but have become increasingly popular as global commodities, particularly as web-based streaming platforms (e.g. YouTube) enhance their global audiovisual mobility. Numerous artists within these genres have become internationally recognized superstars, and many of the most recent tracks reflect an increasing co-mingling with American ‘pop’ music, as record companies seek to invigorate mainstream sounds with these ‘exotic’, yet widely popular artists. This article explores representations of scalar territorial identity as articulated in music videos from within these genres so as to evaluate how identity intersects with profit-driven models applicable to the contemporary music industry. By evaluating imagery from a regionally representative sample of music videos, they identify the intimate relationship between identity, scale and cultural production. Ultimately, we interrogate how place-based identity is commodified in these representations and whether certain images are constructed more for transnational consumption than an articulation of a coherent local national, or regional identity.
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T.V., Lazarenko. "НАВЧАННЯ АУДІЮВАННЯ СТУДЕНТІВ НЕМОВНИХ СПЕЦІАЛЬНОСТЕЙІЗ ВИКОРИСТАННЯМ МОДЕЛІ «ПЕРЕВЕРНУТИЙ КЛАС»." Collection of Research Papers Pedagogical sciences, no. 94 (May 6, 2021): 135–42. http://dx.doi.org/10.32999/ksu2413-1865/2021-94-19.
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The listening comprehension process is complex and multifaceted. The effectiveness of understanding a foreign spoken language is determined by many factors of physiology, psychology, psycholinguistics, linguistics. According to practicing teachers, training listening comprehension is always a more difficult task than training other types of language activities. The lack of a foreign language environment makes it extremly difficult to develop the listening skills, as it requires some willpower, mental and intellectual effort, and therefore does not usually provoke positive emotions. The article highlights the most important problems of teaching listening to students of non-linguistic specialties of higher education institutions. It contains a list of skills that the students of non-language specialties must have in accordance with the requirements of language competence in listening. The difficulties that students face during the process of listening are pointed out. Ways to control the comprehension of the information they had heard are offered. The criteria for selecting material for listening are given. It is emphasized that training listening should be based on a large amount of authentic texts. Another important methodological issue that arises when it comes to teaching listening is the use of technical teaching aids. There is no doubt about the expediency of using Internet resources during training listening in higher educational establishments. The main purpose of using the World Wide Web for the formation of speech competence is to create modern learning conditions for students, develop their interest in learning a foreign language, encourage them, expand their knowledge and experience. Therefore, the article supports the feasibility and possibility of using blended learning technology, namely the model "flipped classroom" for teaching listening in distance education. The essence of this model, ways of its realization, stages of use are described. Examples of tasks that should prepare students for listening and tasks to test comprehension of the material that has been heard are given. The advantages of using this model in training listening in both traditional classroom and distance learning are indicated. Some difficulties in its use are also listed. It is shown that the "flipped classroom" model can be effectively used not only in lecture courses, but also in teaching more communicative disciplines, such as foreign languages, and more specifically for training listening skills. In order to help teachers in the selection of listening materials, recommendations are given on the use of some useful Internet platforms. Prospects for further scientific and practical research on this topic are identified.Key words: auding, listening comprehension, distance learning, inverted classroom, flipped classroom, authentic materials, students’ independent work, technology in education. Процес аудіювання складний і багатогранний. Ефективність розуміння іншомовного усного мовлення зумовлюється багатьма факторами фізіології, психології, психолінгвістики, лінгвістики. Як свідчать викладачі-практики, навчити аудіювання завжди складніше, ніж інших видів мовленнєвої діяльності. У разі відсутності іншомовного середовища аудіювання є найважчим для опанування, оскільки вимагає певних вольових, психічних, розумових зусиль, а тому й, зазвичай, не викликає позитивних емоцій. У статті висвітлено найбільш важливі проблеми навчання аудіювання студентів нелінгвістичних спеціальностей закладів вищої освіти. Наведено перелік умінь, якими відповідно до вимог мовленнєвої компетентності щодо навичок прослуховування мають володіти студенти немовних спеціальностей. Вказано на труднощі, з якими стикаються студенти під час аудіювання. Запропоновано способи контролю розуміння прослуханого повідомлення. Наведено критерії відбору матеріалу для прослуховування. Наголошується на тому, що навчання аудіювання слід будувати на значних за обсягом автентич-них текстах. Ще одним важливим методичним питанням, яке постає, коли мова заходить про навчання аудіювання, є питання про використання технічних засобів навчання. Доцільність застосування інтернет-ресурсів під час навчання аудіювання у ЗВО не викликає жодних сумнівів. Основна мета використання всесвітньої мережі для формування мовленнєвої компетенції полягає в тому, щоб створити сучасні умови для навчання для студентів, зацікавити їх, спонукати до вивчення іноземної мови, розширити свої знання та досвід. Тому в статті обґрунтовується доцільність та можливості використання технології змішаного навчання, а саме моделі «flipped classroom» для навчання аудіювання за умов дистанційної освіти. Описано сутність цієї моделі, способи її реалізації, етапи використання. Наведено приклади завдань, які мають підготувати студентів до прослуховування, і завдань на перевірку розуміння прослуханого матеріалу. Вказано на переваги використання цієї моделі під час навчанні аудіювання як у традиційному класі, так і за умов дистанційного навчання. Також перелічено деякі труднощі в її застосуванні. Показано, що модель «flipped classroom» може ефективно використовуватись не лише в межах лекційних курсів, а й під час навчання більш комунікативних дисциплін, зокрема й іноземних мов, і більш конкретно для тренування навичок прослуховування. Задля допомоги викладачам у підборі матеріалів для прослуховування даються рекомендації щодо використання деяких корисних платформ Інтернету. Визначено перспективи подальших науково-практичних розвідок із цієї теми.Ключові слова: аудіювання, сприйняття на слух, дистанційне навчання, перевернутий клас, змішане навчання, автентичні матеріали, самостійна робота студентів, технічні засоби навчання.
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Malecki, Sarah L., Kieran L. Quinn, Nathan Zilbert, Fahad Razak, Shiphra Ginsburg, Amol A. Verma, and Lindsay Melvin. "Understanding the Use and Perceived Impact of a Medical Podcast: Qualitative Study." JMIR Medical Education 5, no. 2 (September 19, 2019): e12901. http://dx.doi.org/10.2196/12901.
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Background Although podcasts are increasingly being produced for medical education, their use and perceived impact in informal educational settings are understudied. Objective This study aimed to explore how and why physicians and medical learners listen to The Rounds Table (TRT), a medical podcast, as well as to determine the podcast’s perceived impact on learning and practice. Methods Web-based podcast analytics were used to collect TRT usage statistics. A total of 17 medical TRT listeners were then identified and interviewed through purposive and convenience sampling, using a semistructured guide and a thematic analysis, until theoretical sufficiency was achieved. Results The following four themes related to podcast listenership were identified: (1) participants thought that TRT increased efficiency, allowing them to multitask, predominantly using mobile listening platforms; (2) participants listened to the podcast for both education and entertainment, or “edutainment”; (3) participants thought that the podcast helped them keep up to date with medical literature; and (4) participants considered TRT to have an indirect effect on learning and clinical practice by increasing overall knowledge. Conclusions Our results highlight how a medical podcast, designed for continuing professional development, is often used informally to promote learning. These findings enhance our understanding of how and why listeners engage with a medical podcast, which may be used to inform the development and evaluation of other podcasts.
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Pahl, Kate Heron. "Recognizing Young People’s Civic Engagement Practices: Rethinking Literacy Ontologies through Co-Production." Studies in Social Justice 13, no. 1 (March 21, 2019): 20–39. http://dx.doi.org/10.26522/ssj.v13i1.1950.
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In this article I argue that it is important to find a language to describe youth engagement practices in informal settings. I argue that many young people do not have the resources to be heard on visible platforms, but their work, and meaning making practices might provide important information about their ideas and relay key concepts about how communicational practices are constructed. Drawing on embedded, ethnographic and artistically informed projects with young people in communities, I argue for a deeper kind of listening. Artistic forms such as poetry, visual art, dance and music are important modes of engagement. I draw on cultural practice theory together with theory from new literacy studies and media studies to explore four questions:
How do you craft what you know?
How do you speak/make what you feel?
How do you transform practice?
How do you articulate action?
I see these as components of the process of producing relationally oriented modes of address that others can also engage with. Taken together, they suggest a language of description for the mode that is civic engagement communicational practice, that is, oriented beyond individual experience but drawing from experience to make change happen in relational ways.
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Ančić, Ivana. "Sound from the cloud: Metamorphoses of technical and artistic paradigms in the social reception of sound and music." New Sound, no. 48-2 (2016): 81–96. http://dx.doi.org/10.5937/newso1648081a.
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In this paper on the example of the cloud I intend to research and analyze the changes of artistic paradigms and practices in music that occurred due to the technological development, digitalization process and implementation of new media. With the rapid growth of technology and its immersion in digital screen culture, reality has become virtual and augmented, moving our perception to a different, new perspective-the cloud perspective. Sound from the cloud represents a new category of the production, distribution, consumption and perception of sound, the new sound/cloud discourse. This is the case of sound coming from virtual space, but due to the development of new devices and mobile phones it does not require the connection of the consumer to the computer, but is already connected through the mobile and omnipresent Web. The purpose of this paper is to focus on the impacts achieved in the field of music by the system of recording and sound reproduction and digital technology, as well as to analyze some theoretical issues provoked by these changes. The special focus of the research is an innovative artistic practice which has developed parallel with technological development, digital consumption and listening habits, contrary to artistic experience. This paper should confirm that the rapid and intensive development of technology and devices is developing a new space and intimate connection between authors, prosumers and consumers. The research should also confirm the hypothesis that the cloud is an entity, an autonomous system, a live organism in constant change, dependent and in a constant process of interaction.
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Bum, Chul-Ho, Joon-Hee Lee, and Chulhwan Choi. "The Effects of Leisure Activities on Self-Efficacy and Social Adjustment: A Study of Immigrants in South Korea." International Journal of Environmental Research and Public Health 18, no. 16 (August 5, 2021): 8311. http://dx.doi.org/10.3390/ijerph18168311.
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This study classified leisure activity types into active, passive, and social leisure activities based on theory, and focused on determining the type that has a significant influence on the self-efficacy and social adjustment of immigrants staying in South Korea. The results of multivariate analysis of variance (MANOVA), including post-hoc analysis using SPSS 23.0, were as follows: in principle, immigrants who participate in active or social leisure activities perceive their self-efficacy and social adjustment to be high. Differing slightly from this, the passive leisure activity type, which includes activities such as reading alone, listening to music, and surfing the web, may relieve their stress or provide them with psychological stability, but it was not found to be helpful in their adjustment to the new culture. The significance of this study lies in the finding that leisure activities help immigrants with social adjustment, in addition to physical and psychological aids that are already well known. We hope that the findings of the present study can be used as basic data for helping immigrants with smooth social adjustment and increasing their quality of life.
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Stone, Michael A., Mark Harrison, Keith Wilbraham, and Melanie Lough. "Consumer-Grade Headphones for Children: Limited Effectiveness of “Level Limiters” When Used With Portable or Home Media Players." Trends in Hearing 23 (January 2019): 233121651988923. http://dx.doi.org/10.1177/2331216519889232.
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Consumer-grade headphones for children are frequently packaged or marketed with labels claiming incorporation of an output-level-limiting function. Six pairs of headphones, sold separately from devices with audio interfaces, were selected either from online recommendations or from “best rated” with a large online retailer, the opinions being expressed in 2018 to early 2019. The acoustic outputs in response to an internationally standardized test signal were measured through the ears of a head-and-torso simulator and referenced to equivalent A-weighted diffuse-field sound pressure levels. The headphones were tested with a variety of music capable sources found in a domestic environment, such as a mobile phone, tablets, laptop computer, and a home “hi-fi” CD player. To maintain likely homogeneity of the audio interface, the computer-based platforms were manufactured by either Apple™ or certified Android devices. One of the two Bluetooth-linked headphones exhibited level limiting with low distortion (i.e., a compression ratio well in excess of unity). None of the devices wired directly to an audio output performed distortionless level limiting: “limiting” was implemented by a reduction of sensitivity or mechanical limitations, so could be called “soft limiting.” When driven by a laptop or CD player, some were still capable of producing output levels well in excess of “safe-listening” levels of 85 dB(A). Packaging labels were frequently ambiguous and imprecise.
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Chirombe, Tsitsi, Sharon Benza, Epiphania Munetsi, and Herbert Zirima. "COPING MECHANISMS ADOPTED BY PEOPLE DURING THE COVID-19 LOCKDOWN IN ZIMBABWE." Business Excellence and Management S.I., no. 1 (October 15, 2020): 33–45. http://dx.doi.org/10.24818/beman/2020.s.i.1-03.
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In response to the outbreak of COVID 19 cases in Zimbabwe, the government declared a twenty-one-day lockdown beginning the 30th of March 2020. This study sought to analyse the coping mechanisms that people adopted to survive the lockdown. Specifically, the study explored the social, psychological, religious and physical coping mechanisms adopted by Zimbabweans. A qualitative approach was taken in doing this study, specifically making use of the document analysis design. Data was then collected from a social media platform which is WhatsApp. Forty WhatsApp messages and status updates were analyzed in this research. The lockdown presented challenges and opportunities; some people were struggling to cope yet some saw this as an opportunity to do things that they had no time for. The study revealed that people resorted to WhatsApp groups to connect with workmates, friends, schoolmates and relatives. Most Zimbabweans resorted to indoor games with their family members, exercise, listening to music and gardening. With the restricted movement imposed as a result of lockdown, people had to engage in prayer and other religious activities in their homes. Students found the lockdown as a good opportunity to engage in research and also made use of platforms such as the Google Classroom to continue learning. The study recommends that Zimbabweans should follow government regulations in order to curb the spread of COVID 19 and similar pandemics in the future.
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Kafka, Ben. "Human, Also Human." October 166 (November 2018): 63–72. http://dx.doi.org/10.1162/octo_a_00333.
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The first time you hear a patient's unconscious, I mean really hear it in all of its immediacy and intimacy, there's a shock—no matter how much Freud you've read, how much analysis you've had, how prepared you think you are. My first patient was an eleven-year-old boy. We met two or three times a week at his school, a middle school for bright children from poor, mostly black and brown families. There we were in one of our sessions, which were held in the principal's office, the closest thing the overcrowded school had to a private space. I was listening to him explain how, in different countries, there are different gestures for “fuck you.” He was pretty clearly enjoying the opportunity to use the forbidden word and make the forbidden gesture in my presence. In the United States it's the middle finger, he told me; then showed me. In China, it's the index and pinkie fingers. He paused for a moment over this gesture, which had triggered an association: Spider-Man. My patient then began to spin one of those vivid, violent daydreams that took up most of our sessions for the year and a half we worked together: Spider-Man is in China, he tries to shoot his web, but the people think he's gesturing “fuck you” at them. So they cut off his fingers. He tries to shoot the web from his mouth, so they cut off his mouth. He tries to shoot it from his butt—by now the patient was laughing hard—they cut off his butt. Defeated, Spider-Man returns home to find his mother. He gets into bed with her. She gets pregnant and has a baby. When Spider-Man realizes what's happened, somebody—it's not clear who—cuts out his eyes. Spider-Man dies.
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Daniel, Paul. "Pattern of internet use and prevalence of internet addiction among interns of a medical college in Kerala." International Journal Of Community Medicine And Public Health 6, no. 5 (April 27, 2019): 1928. http://dx.doi.org/10.18203/2394-6040.ijcmph20191508.
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Background: Exponential increase in use of smartphones and availability of internet services makes the students and young doctors prone to internet addiction. The interns are particularly at risk because of their unique communication and academic needs. The study was conducted to evaluate the pattern of use of internet and prevalence of internet addiction among interns.Methods: This cross-sectional study was conducted using an online questionnaire related to internet use and Young’s internet addiction test.Results: All interns were using smartphones and 96.3% of them used internet daily. About 80% of them started using internet before the age of 19 years. Duration of use of internet exceeded three hours a day among 40% of them during weekdays. During the weekends 60% of interns used internet for more than three hours per day. All of them were using internet for communication specially for instant messaging. Another common use was social networking by 90% of them. Educational purpose, file sharing, web browsing and listening to music or news were also done using internet. Prevalence of internet addiction among interns was 47.9% (Mild – 36.3%, moderate – 11.3% and severe – 1.3%).Conclusions: Prevalence of internet addiction is high among the interns. Efforts should be taken to enhance awareness and prevent internet addiction among them.
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Fan, Aihua, Xumei Chen, and Xiaomei Zhang. "What Factors Contribute to Higher Travel Happiness? Evidence from Beijing, China." Journal of Advanced Transportation 2021 (February 19, 2021): 1–14. http://dx.doi.org/10.1155/2021/8861841.
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Travel happiness has drawn increasing attention in recent years. However, the empirical research in developing countries’ context is very limited, and few studies consider both cognitive and affective evaluations during traveling. This study uses web-based survey data collected in Beijing, China, and applies multiple regression analysis to examine impacts of sociodemographic attributes, travel characteristics, residential environment, mode consonance, self-evaluation, and health conditions, on travel happiness. Satisfaction with Travel Scale (STS) is used to measure travel happiness. Results show that for trips using active travel modes, traveling by walking has higher travel happiness than by nonmotor vehicles. For those trips traveling by motor vehicles, company shuttle bus trips have the highest travel happiness ratings, followed by automobile trips and public transport trips. Transport mode consonance is significantly positively correlated with travel happiness. Residential environment, self-reported optimism, and daily happiness have great positive impacts on travel happiness. Living in suburban areas is more satisfying for walking and car trips, but travel frequency, travel duration, and perceived travel time length have significant negative effects on travel happiness. Public transport use with friends is enjoyable, but unpleasant with work partners. More happiness when listening to music/radio or reading during traveling is demonstrated. Finally, policy implications and potential extended research topics are recommended.
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Nikolić, Tatjana. "Social engagement of young female artists in the digital context." Kultura, no. 169 (2020): 86–112. http://dx.doi.org/10.5937/kultura2069086n.
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Young women take more and more significant place in online space using all the benefits of the creative features of Internet and digital media. Even though gender inequality is possibly even more present in the online space comparing to the offline, digital environment also stands for a platform for (artistic) expression and an arena of the tension between attitudes, tastes, expressions and ideas. New generations of female authors in the local and regional digital context (could) precede, inspire and lead with their authentic critical thinking and production. This text examines if, to what extent and how young female authors use their artistic production, especially their digital platforms, for expressing social and political opinions. We were particularly investigating their understanding of feminism and gender (in)equality, as well as their experience of discrimination and sexism. The article is based on the individual interviews with selected female authors of the younger generation, through which their attitudes, values, critical artistic production, messages and narratives, as well as reactions to the global crisis and social problems were investigated. To the certain extent, the article also reflects on their content on digital communications channels (web sites, Facebook profiles and pages, Instagram profiles and other platforms for digital creativity and distribution of artistic content). This pilot research included eight female artists active in different artistic and creative fields in Serbia: visual and applied arts, music (popular and contemporary experimental), film, literature and performing arts. A particular topic that marked the social context of the first half of 2020 when the research was conducted, has been the pandemic caused by the virus covid19, as well as emergency state and isolation that came as a consequence. Additionally, context of their production, activism and life is marked by sexism existing in media, online as well as offline public space.
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Barrios-Rubio, Andrés. "From the Antenna to the Display Devices: Transformation of the Colombian Radio Industry." Journalism and Media 2, no. 2 (May 11, 2021): 208–24. http://dx.doi.org/10.3390/journalmedia2020012.
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Consolidation of the digital environment has become an irreversible global reality and, for the Colombian radio industry, it implies not only assuming a process of transformation in its actions, but, above all, continuous learning. Technological innovation imposes new forms of consumption whose logic corresponds to new systems for the production, distribution and commercialization of information, culture, science and entertainment. Object of study. Adaptation of the radio medium to the digital ecosystem of audiences invites us to focus the attention of researchers on the media’s use of web-radio, app–radio and social media; the relevance of sound semiotics compared to other components of the message on users’ screens; and the alterations suffered by the business model and productive routines of the radio. Methodology. This research took as its focus of study three Colombian radio stations and their informative stations—Caracol Radio, W Radio, Blu Radio, RCN Radio and La FM—through a mixed methodology. Quantitative instruments—numerical data to monitor activities on social platforms—and qualitative instruments—interpretation of messages and visual composition of the message—allow for the monitoring and analyzing of the performance of the radio medium in the digital environment, and the tactical approach of radio agents to delineate the strategies that promote the expansion, positioning and participation of radio in the Colombian media ecosystem. Results. Normalization of connectivity, ubiquity, timelessness and interactivity are, today, inherent values of the content broadcast by the radio industry, which needs to appropriate the tastes and interests of the audience through multi-device, multi-tasking and multi-user devices. Conclusion. Consumption actions of listeners: users are concentrated on the Smartphone screens, which provides a habit of listening and monitoring that forces the media to incorporate the format—and language—of video into their productive dynamics in order to attract and retain the attention of their audiences.
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Miller, Steven M. "Bob Snyder: Music and Memory: An Introduction Softcover, 2000, ISBN 0-262-69237-6, 291 pages, illustrated, glossary, bibli-ography/references, index, appendix: listening examples; The MIT Press, 5 Cambridge Center, Cambridge, Massachusetts 02142-1493, USA; telephone (+1) 800-356-0343; electronic mail mitpress-order@mit.edu; World Wide Web mitpress.mit.edu/." Computer Music Journal 26, no. 2 (June 2002): 98–100. http://dx.doi.org/10.1162/comj.2002.26.2.98.
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Pedrero-Esteban, Luis Miguel, Andrés Barrios-Rubio, and Virginia Medina-Ávila. "Teenagers, smartphones and digital audio consumption in the age of Spotify." Comunicar 27, no. 60 (July 1, 2019): 103–12. http://dx.doi.org/10.3916/c60-2019-10.
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The consolidation of smartphones as dominant devices for access to digital information and entertainment has redefined the processes of production and commercialization of cultural communication industries. The nature of these screens, which prioritize the visual content over the sound, decisively influences distribution strategies in the audio market: radio operators, streaming music platforms and podcast creators need to adapt their value chains to the habits derived from this mediation, especially in the younger audience. This research identifies the practices of mobile use as an audio receiver among adolescents in Colombia, Spain and Mexico –the most representative countries of Spanish-speaking digital sound consumption– based on a descriptive study on a thousand subjects from 13 to 19 years of age. The results confirm the overwhelming dominance in this music menu in the face of low penetration of radio and podcast word content. The selection is based on personal criteria, with little margin for the prescription of family or friends. There is evidence of the roots of individual listening, linked to the brand and the visibility of audio providers, who are obliged to develop diffusion logics based not only on thematic or genre preferences, but also on the user experience.La consolidación de los smartphones como dispositivos dominantes de acceso a la información y el ocio digital ha redefinido los procesos de producción y comercialización de las industrias culturales de la comunicación. La naturaleza de estas pantallas, que priorizan el contenido visual sobre el sonoro, determina hoy las estrategias de distribución y comercialización en el mercado del audio: operadores de radio, servicios de música en streaming y creadores de podcasts necesitan adecuar sus cadenas de valor a los hábitos derivados de esta mediatización, sobre todo en la audiencia más joven. Esta investigación identifica las prácticas de uso del móvil como receptor de audio entre los adolescentes de Colombia, España y México –los países más representativos del consumo digital sonoro hispanohablante– a partir de un estudio descriptivo sobre 1.004 sujetos de 13 a 19 años. Los resultados revelan el abrumador dominio de la música en este menú frente a la baja aceptación de los contenidos de palabra de radio y podcast. Su selección se asienta sobre criterios personales, con poco margen para la prescripción de familiares o amigos. Se constata el arraigo de una escucha individual, ligada a la marca y la visibilidad de los oferentes de audio, obligados a desarrollar lógicas de difusión basadas no sólo en preferencias de temas o géneros, sino también en las asociadas a la experiencia de usuario en estos terminales.
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Shirinkina, Mariya A. "Formats and genres of media communication of the executive power." International Journal “Speech Genres” 29, no. 1 (March 24, 2021): 66–77. http://dx.doi.org/10.18500/2311-0740-2021-1-29-66-77.
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The article presents a general description of the system of the executive power media resources from the point of view of its genre organization. The author offers a literature review on computer-mediated communication and the sphere of public relations and gives a definition of a genre in connection with the Internet. It is argued that an important characteristic of a media genre is its format regarded as a sum total of discourse and media aspects determined by the technical capacity of various Internet services. On the basis of executive power official websites, their press service publics and accounts of individual officials in social networks and microblogging services (VK, Instagram, Twitter), as well as messenger channels (Telegram) the author singles out genre varieties of media messages. The author argues that the executive power media communications form an integrated system of communication means and methods of communicating with the society through various Internet services and platforms. The complex of multi-code media messages constitutes a scenario of communication with all possible target groups of the state with a view to create in the collective consciousness a positive image of the executive branch in general and that of the individual officials in particular. The author comes to the conclusion that, when a communication product is posted on the Web, its principal genre features (volume, theme, composition, stylistic peculiarities) remain recognizable, and only the form of presenting the information offered to the addressee with the help of different semiotic systems varies: text, video, photo, animation, music, graphics and infographics as its particular mode, etc. The research of categorical and textual approach to media genres, which allows to describe their typological characteristics in detail may be regarded as a promising continuation of this study.
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Rastrygina, A., and Z. Koloskova. "ONLINE LEARNING IN THE POST-COVID EDUCATIONAL SPACE OF PEDAGOGICAL HIGHER EDUCATION." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 211–26. http://dx.doi.org/10.33989/2226-4051.2021.23.238283.
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The article highlights the issues related to the need of introducing online education as an innovative form of learning in the post-COVID educational space of pedagogical educational establishments, mastering which becomes the basis for the development of specific elements of digital competence of future specialists.
It was stated that in finding ways to solve problems in the system of pedagogical higher education caused by the COVID-19 pandemic and its probable continuation over a long period, scientists stressed the need to respond immediately to new circumstances and introduce distance learning using various web servers, platforms and resources, and social networks.
Given the analysis of scientific sources and the results of expert verification of the feasibility of using digital assistive devices during the transition to distance learning related to quarantine measures, it is confirmed that most scientists from the world-leading universities have confirmed the effectiveness of combining common forms of offline learning with distance learning on the online platform and supported the introduction of blended learning in the post-COVID educational space of higher education institutions.
The use of online learning in the post-COVID educational space of pedagogical institutions of higher education, regardless of the format of its receiving (online or offline), is standardized at the national level and confirmed in the documents of the State Education Quality Service of Ukraine.
The content and forms of the distantly conducted classes are presented in the example of art subjects. Not only does it cause the change of teaching technologies in the art educational space of higher education institutions, but it also becomes an essential factor in improving the professional culture of a modern music teacher.