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Artículos de revistas sobre el tema "Distributed music performance"

Autor: Grafiati
Publicado: 9 de enero de 2025
Última modificación: 31 de julio de 2025

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1

Aguilar, Ananay. "Distributed Ownership in Music." Social & Legal Studies 27, no. 6 (2017): 776–98. http://dx.doi.org/10.1177/0964663917734300.

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Following criticisms of British copyright law that it is influenced by Romantic ideals of authorship, I ask whether it makes sense to distinguish between music composers and performers in law. Drawing on interviews with classical and popular music performers and relevant case law, I examine how performers negotiate and exploit different rights in order to determine ownership. Evidence suggests that rather than a binary, musicians’ creative work can best be represented as moving along a continuum between composition and performance with both concepts socially much in use. Musicians position the
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2

Krasnoskulov, Alexei V. "Distributed Performance: Principles, Space, Communication." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2015): 28–32. http://dx.doi.org/10.17674/1997-0854.2015.1.18.028-032.

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3

Teniswood-Harvey, Arabella. "Presence, absence, distance and intimacy: How do virtual classical music concerts rate against the wonders of the musical metaverse?" Virtual Creativity 13, no. 1 (2023): 29–47. http://dx.doi.org/10.1386/vcr_00073_1.

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Disruptions to live performance caused by the recent pandemic have fuelled a surge in virtual concerts, impacting both classical and popular music. This article explores ways in which audio-visual media have been used during the pandemic to maintain the live performance of classical music, through comparison with recent examples of virtual creativity in popular music (including performances by virtual artists in virtual spaces, Vocaloid and holographic concerts). Insights into audience experience are revealed: the benefits of engaging with music performance through online platforms include opp
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4

Shapiro, R. Benjamin, Annie Kelly, Matthew Ahrens, Ben Johnson, Heather Politi, and Rebecca Fiebrink. "Tangible Distributed Computer Music for Youth." Computer Music Journal 41, no. 2 (2017): 52–68. http://dx.doi.org/10.1162/comj_a_00420.

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Computer music research realizes a vision of performance by means of computational expression, linking body and space to sound and imagery through eclectic forms of sensing and interaction. This vision could dramatically influence computer science education, simultaneously modernizing the field and drawing in diverse new participants. In this article, we describe our work creating an interactive computer music toolkit for youth called BlockyTalky. This toolkit enables users to create networks of sensing devices and synthesizers, and to program the musical and interactive behaviors of these dev
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5

Seo, Jiho, Jonghyeok Lee, Jaehyun Park, Hyungju Kim, and Sungjin You. "Distributed Two-Dimensional MUSIC for Joint Range and Angle Estimation with Distributed FMCW MIMO Radars." Sensors 21, no. 22 (2021): 7618. http://dx.doi.org/10.3390/s21227618.

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To estimate range and angle information of multiple targets, FMCW MIMO radars have been exploited with 2D MUSIC algorithms. To improve estimation accuracy, received signals from multiple FMCW MIMO radars are collected at the data fusion center and processed coherently, which increases data communication overhead and implementation complexity. To resolve them, we propose the distributed 2D MUSIC algorithm with coordinate transformation, in which 2D MUSIC algorithm is operated with respect to the reference radar’s coordinate at each radar in a distributed way. Rather than forwarding the raw data
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6

Gibson, Ian. "A Wireless, Real-time, Distributed Music Composition and Performance System." International Journal of the Arts in Society: Annual Review 5, no. 1 (2010): 303–10. http://dx.doi.org/10.18848/1833-1866/cgp/v05i01/35814.

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7

Stapleton, Paul, and Tom Davis. "Ambiguous Devices: Improvisation, agency, touch and feedthrough in distributed music performance." Organised Sound 26, no. 1 (2021): 52–64. http://dx.doi.org/10.1017/s1355771821000054.

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This article documents the processes behind our distributed musical instrument, Ambiguous Devices. The project is motivated by our mutual desire to explore disruptive forms of networked musical interactions in an attempt to challenge and extend our practices as improvisers and instrument makers. We begin by describing the early design stage of our performance ecosystem, followed by a technical description of how the system functions with examples from our public performances and installations. We then situate our work within a genealogy of human–machine improvisation, while highlighting specif
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8

Simmons, Amy L. "Distributed Practice and Procedural Memory Consolidation in Musicians’ Skill Learning." Journal of Research in Music Education 59, no. 4 (2011): 357–68. http://dx.doi.org/10.1177/0022429411424798.

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This research was designed to determine whether musicians’ learning is affected by the time intervals interposed between practice sessions. Twenty-nine non-pianist musicians learned a 9-note sequence on a piano keyboard in three practice sessions that were separated by 5 min, 6 hr, or 24 hr. Significant improvements in performance accuracy were observed in Session 2 only in the group whose sessions were separated by 24 hr. There were significant increases in performance speed in Session 2 in all three practice conditions, results which likely were attributable to the inclusion of all Session 1
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9

V., Madhu, and Shruthi MS. "A Descriptive Study on Impact of Music on Workplace Productivity." Shanlax International Journal of Arts, Science and Humanities 7, no. 2 (2019): 32–38. https://doi.org/10.5281/zenodo.3575283.

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Music  ows  awlessly through air and touches every soul. It isn’t only in the instruments and the voices that the music exists but also in everything else. It’s in the whisper of the wind, it’s in the myriad raindrops, and it’s in the rhythmic beating of the heart as well.  Music changes the large world into a small one as it has no boundaries.  They say that the sound is the most powerful force in the universe. It has a spiritual aspect to it as well because once the music enters the neural network we have a very limited control on the effects of music as i
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10

R, Dr Naveenkumar. "An Empirical Research Approach on Confusion Matrix Using Existing Musical Industry Dataset." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 04 (2024): 1–5. http://dx.doi.org/10.55041/ijsrem31385.

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This paper analyzes the sales of existing music albums from 1973 to 2019. The data shows that the music industry has experienced many changes over the years, with the most significant change being the introduction of digital platforms. Digital platforms have disrupted the traditional music industry model, leading to a decline in sales of physical albums. The paper also analyzes the sales of each medium through which music was distributed worldwide with different machine learning algorithm classifiers consistently exhibiting inadequate predictive power. the lack of a good prognosis highlights a
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11

Chang, Chialun. "The Design and Implementation of the Curriculum for the Collegiate Group Piano Course at the Comprehensive Universities in China." Journal of Higher Education Research 3, no. 4 (2022): 356. http://dx.doi.org/10.32629/jher.v3i4.956.

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The music education in China is unevenly distributed. Well known music conservatories in cosmopolitan cities offers high quality training both in theory and performance. On the other hand, general comprehensive universities, especially in the rural areas have limited resources and qualified teachers, and often require students a minimum of music training prior to college admission. Piano is the most versatile instrument to train music fundamentals, consequently, piano become mandatory course for a music degree in a comprehensive university. Many music departments offer group piano course to ac
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12

Zhang, Xu, Guohao Sun, Dingkang Li, Zhengyang Liu, and Yuandong Ji. "Synthetic-Aperture Passive Localization Utilizing Distributed Phased Moving-Antenna Arrays." Electronics 14, no. 11 (2025): 2114. https://doi.org/10.3390/electronics14112114.

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This article presents a Synthetic-Aperture Distributed Phased Array (SADPA) framework to address emitter localization challenges in dynamic environments. Building on Distributed Synthetic-Aperture Radar (DSAR) principles, SADPA integrates distributed phased arrays with motion-induced phase compensation, enabling coherent aperture synthesis beyond physical array limits. By analytically modeling and compensating nonlinear phase variations caused by platform motion, we resolve critical barriers to signal integration while extending synthetic apertures. An improved MUSIC algorithm jointly estimate
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13

Sun, Juan. "Personalized Music Recommendation Algorithm Based on Spark Platform." Computational Intelligence and Neuroscience 2022 (February 17, 2022): 1–9. http://dx.doi.org/10.1155/2022/7157075.

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Aiming at the shortcomings of traditional recommendation algorithms in dealing with large-scale music data, such as low accuracy and poor real-time performance, a personalized recommendation algorithm based on the Spark platform is proposed. The algorithm is based on the Spark platform. The K-means clustering model between users and music is constructed using an AFSA (artificial fish swarm algorithm) to optimize the initial centroids of K-means to improve the clustering effect. Based on the scoring relationship between users and users and users and music attributes, the collaborative filtering
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14

Ismail, Syahirah, Ahmad Munir Mahzair, and Juwairiyah Zakaria. "Participation Interest In Orchestra Class among Degree Students in UiTM Faculty of Music." Environment-Behaviour Proceedings Journal 7, SI9 (2022): 347–52. http://dx.doi.org/10.21834/ebpj.v7isi9.4283.

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This paper aims to find the participation interest in orchestra class among music degree students in the UiTM Faculty of Music. The study's research objectives were to investigate students' perceptions towards orchestra class among music degree students and to determine the level of interest in orchestra class among music degree students. A questionnaire survey was distributed to 40 students doing their degree program and majoring in the orchestral instrument. Findings showed that the majority agreed that participating in orchestra class was very important in improving their performance skills
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15

Ead, Hamed, Neama Abdelrahman, and Yasmine Hassan. "The Harmonious Balance: Exploring the Impact of Music on Concentration and Academic Performance Among Cairo University Students." Science Journal of Education 12, no. 6 (2024): 130–40. https://doi.org/10.11648/j.sjedu.20241206.13.

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This study investigates the intricate relationship between music listening habits and the concentration and academic performance of Cairo University students. Building on established research, including the well-known "Mozart effect," we examine both the potential benefits and drawbacks of integrating music into study routines. Utilizing a mixed-methods approach, we distributed quantitative surveys to 200 students and conducted qualitative interviews to gain deeper insights. The study focuses on key areas: frequency of music listening while studying, preferred genres, and per
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16

Hajdu, Georg. "Disposable Music." Computer Music Journal 40, no. 1 (2016): 25–34. http://dx.doi.org/10.1162/comj_a_00342.

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This article introduces the concept of real-time composition and composition as a “dispositif” in the sense of Foucault and Deleuze, defining it as a heterogeneous ensemble of pieces that together form an apparatus. The introduction situates the dispositif in the context of cultural developments, most notably its slow but steady shift away from textualization in digital media. As musicians are adapting to ensuing cultural and, above all, economic changes, new musical forms emerge that rely to a lesser degree on fully notated scores, such as “comprovisation” or laptop performance. Antitheticall
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17

Zhang, Yuan, and Wenzhe Hu. "Design Mode of Stage Performing Arts Based on 3D Modeling and Moving Edge Computing Technology." Wireless Communications and Mobile Computing 2022 (January 27, 2022): 1–9. http://dx.doi.org/10.1155/2022/4659816.

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In recent years, the virtual stage background has become increasingly popular in the stage design of large-scale art evenings as well as in dance performances. It deftly blends the form of dance beauty with the content of dance performance, creating an atmosphere that not only sets the scene but also expands the stage space and enhances the artistic expression of dance. This paper focuses on the design of stage performance art using 3D modeling and MEC (mobile edge computing) technology. The data fusion method of multi-Kinect joints is researched and realized using 3DMAX to complete the modeli
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18

Rowe, Robert. "Real Time and Unreal Time: Expression in Distributed Performance." Journal of New Music Research 34, no. 1 (2005): 87–95. http://dx.doi.org/10.1080/1080/09298210500124034.

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19

M�ller, Stefan. "Computer-aided Musical Performance with the Distributed Rubato Environment." Journal of New Music Research 31, no. 3 (2002): 233–37. http://dx.doi.org/10.1076/jnmr.31.3.233.14184.

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20

Park, Huijea, Seungsu Chung, Jaehyun Park, and Yang Huang. "High-Resolution Localization Using Distributed MIMO FMCW Radars." Sensors 25, no. 12 (2025): 3579. https://doi.org/10.3390/s25123579.

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Due to its fast processing time and robustness against harsh environmental conditions, the frequency modulated continuous waveform (FMCW) multiple-input multiple-output (MIMO) radar is widely used for target localization. For high-accuracy localization, the two-dimensional multiple signal classification (2D MUSIC) algorithm can be applied to signals received by a single FMCW MIMO radar, achieving high-resolution positioning performance. To further enhance estimation accuracy, received signals or MUSIC spectra from multiple FMCW MIMO radars are often collected at a data fusion center and proces
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21

He, Xiangge, Min Zhang, Lijuan Gu, Shangran Xie, Fei Liu, and Hailong Lu. "Performance Improvement of Dual-Pulse Heterodyne Distributed Acoustic Sensor for Sound Detection." Sensors 20, no. 4 (2020): 999. http://dx.doi.org/10.3390/s20040999.

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Phase fading is fatal to the performance of distributed acoustic sensors (DASs) influencing its capability of distributed measurement as well as its noise level. Here, we report the experimental observation of a strong negative correlation between the relative power spectrum density (PSD) at the heterodyne frequency and the noise floor of the detected phase for the heterodyne demodulated distributed acoustic sensor (HD-DAS) system. We further propose a weighted-channel stack algorithm (WCSA) to alleviate the phase fading noise via an enhancement of the relative PSD at the heterodyne frequency.
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22

Bouillot, Nicolas, and Michał Seta. "The Kaon’CPT Collective: Building a musical culture of not-in-real-life performance through conducted live comprovisation." Organised Sound 26, no. 3 (2021): 368–77. http://dx.doi.org/10.1017/s1355771821000455.

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In this article we describe a Networked Music Collective for online live performance events. Four characteristics of live performance (bodies, space and time, musical culture and social process) are identified as the conceptual and technological basis of our approach. Our recent distributed comprovisation, Perripplayear, is used to illustrate these concepts and to describe the technology stack we employed. The Kaon’CPT collective uses diverse instrumentation including acoustic and electronic instruments, voice and digital musical instruments (DMIs). Its members span 12 time zones and their com
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23

Bruford, Bill. "A breed apart and a breed below: creative music performance and the expert drummer." Popular Music 39, no. 2 (2020): 312–31. http://dx.doi.org/10.1017/s0261143019000266.

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AbstractThis article argues that contemporary systems theory explanations are insufficient when accounting for ‘in the moment’ creative musical performance. The system model's focus on a domain-changing contribution from an individual fails to offer a satisfactory account of the construction and assessment of the more everyday distributed and collaborative creativity undertaken by many popular music instrumentalists. A cultural psychology perspective, in contrast, situates distributed creativity inbetween people and objects rather than within them. Glăveanu's ‘Five As framework’ has particular
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24

Schroeder, Franziska, and Alex Lucas. "Distributed Participatory Design: The challenges of designing with physically disabled musicians during a global pandemic." Organised Sound 26, no. 2 (2021): 219–29. http://dx.doi.org/10.1017/s1355771821000261.

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The global COVID-19 pandemic has been an extraordinary situation. Social distancing has impacted the vast majority of people, reorganising society, physically separating us from friends, family and colleagues. Collectively we found ourselves in a distributed state, reliant upon digital technologies to maintain social and professional connections. Some activities can translate unabated to a digital medium, with benefits, such as the convenience inherent in many online shopping and banking services. Other activities, particularly those which are socially engaged, including inclusive music-making
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25

Cao, Chuan. "Creation Characteristics of Music Piano Arrangement Based on Distributed Sensors." Mobile Information Systems 2022 (August 19, 2022): 1–11. http://dx.doi.org/10.1155/2022/3086542.

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Music piano arrangement is a popular creation method among the public at present, which can play a role in the promotion of traditional culture and the combination of popular culture. However, the traditional method of analyzing the creative characteristics of musical piano arrangements has limitations, and it is not suitable for today’s public review era. In this paper, to address the limitations, distributed sensor technology is employed. It utilizes the Top-k query method, KNN (one of the most basic approaches in data mining classification technology is the proximity algorithm, often known
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26

Okoye, Peter Uchenna, Kevin Chuks Okolie, Christian Ifeanyi Ohaedeghasi, and Chukwuemeka Ngwu. "Ecomusicology: A socioecological dimension towards acoustically sustainable residential buildings." Sustinere: Journal of Environment and Sustainability 4, no. 3 (2020): 172–88. http://dx.doi.org/10.22515/sustinere.jes.v4i3.123.

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This study examined the socioecological roles of music sounds towards achieving acoustically sustainable residential building. The study adopted a survey research approach where questionnaires were distributed to the occupants of different types of residential buildings in three urban cities of Anambra State Nigeria. The survey data were analysed using Statistical Package for the Social Science (SPSS) Software. The results revealed that music plays significant roles towards acoustically sustainable building performance with the overall average mean score index of 4.36 and a range of 3.64 to 4.
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27

CHITRA, S., and N. KUMARATHARAN. "AN EFFICIENT CFO ESTIMATION AND ICI REDUCTION IN MC-CDMA SYSTEM THROUGH CONJUGATE WEIGHTED MUSIC BASED RPRCC SCHEME." Latin American Applied Research - An international journal 46, no. 4 (2016): 153–59. http://dx.doi.org/10.52292/j.laar.2016.347.

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Multicarrier code division multiple access (MC-CDMA) is one of the most attractive method for future broadband wireless systems and long term evolution (LTE) standard. The performance of MC-CDMA systems is greatly deteriorated by carrier frequency offset (CFO) which is due to oscillator instability and Doppler shifts. CFO leads to loss of orthogonality between the subcarriers and introduces intercarrier interference (ICI). Among the numerous ICI cancellation techniques, the proposed receiver phase rotated conjugate cancellation (RPRCC) offers greater ICI reduction compared to other methods. Th
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28

Chen, Kaiyuan, Weiyang Chen, and Jiaqi Li. "Noncircular Distributed Source DOA Estimation with Nested Arrays via Reduced-Dimension MUSIC." Sensors 24, no. 20 (2024): 6653. http://dx.doi.org/10.3390/s24206653.

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This paper focuses on the direction-of-arrival (DOA) estimation for noncircular coherently distributed (CD) sources with nested arrays. Usually, for point sources, sparse arrays have the potential to improve the estimation performance of algorithms by obtaining more degrees of freedom. However, algorithms have to be reconsidered for CD sources with sparse arrays and many problems arise. One thorny problem is the disappearance of displacement invariance of the virtual array manifold constructed by the virtualization technique. To deal with this issue, a nested array processing method for CD sou
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29

Chafe, Chris. "Distributed acoustical meshes on the Internet." Journal of the Acoustical Society of America 156, no. 4_Supplement (2024): A39. https://doi.org/10.1121/10.0035023.

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An acoustical mesh distributed over the Internet is constructed of scattering junction nodes with bidirectional audio streaming between them. Components of common network music performance (NMP) applications like JackTrip can be adapted for experimentation with the concept. In the usual context of ensemble NMP, an audio hub server accepts bidirectional audio connections from multiple clients. The clients are located apart from each other physically and the hub server handles audio to and from the ensemble of sites, typically comprising a band or choir. The usual spoke and wheel topology (singl
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30

Chen, Zhong, Shihyuan Yeh, Jean-Francois Chamberland, and Gregory H. Huff. "A Sensor-Driven Analysis of Distributed Direction Finding Systems Based on UAV Swarms." Sensors 19, no. 12 (2019): 2659. http://dx.doi.org/10.3390/s19122659.

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This paper reports on the research of factors that impact the accuracy and efficiency of an unmanned aerial vehicle (UAV) based radio frequency (RF) and microwave data collection system. The swarming UAVs (agents) can be utilized to create micro-UAV swarm-based (MUSB) aperiodic antenna arrays that reduce angle ambiguity and improve convergence in sub-space direction-of-arrival (DOA) techniques. A mathematical data model is addressed in this paper to demonstrate fundamental properties of MUSB antenna arrays and study the performance of the data collection system framework. The Cramer–Rao bound
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31

HELMUTH, MARA. "Virtual musical performance and improvisation on Internet2." Organised Sound 10, no. 3 (2005): 201–7. http://dx.doi.org/10.1017/s1355771805000944.

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Several projects involving audio and video transmission between the University of Cincinnati and other sites over the high bandwidth Internet2 have ranged from the simple transmission of video material, to more complex interactive improvisation. A performance of Clotho, the life of Camille Claudel, a musical monodrama collaboration, was streamed in September 2000 over Internet2 to a widely distributed audience. The second project involved my real-time contribution from Cincinnati to a performance happening at Yale University of The Ankle Diver, with music by Matthew Suttor. A network improvisa
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32

Dordzro, John-Doe. "BRASS BAND MUSIC IN GHANA: THE INDIGENISATION OF EUROPEAN MILITARY MUSIC." African Music: Journal of the International Library of African Music 11, no. 2 (2020): 141–63. http://dx.doi.org/10.21504/amj.v11i2.2318.

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Local brass bands have become an indispensable factor in weddings, processions, rituals of birth or death, at Christmas and New Year festivities in many parts of the globe. Remains of European brass bands are widely distributed throughout Africa, India, Indonesia, Latin America, and the Caribbean. )ese bands are of both military and missionary origin. They are an important component of the nineteenth and early twentieth-century colonial expressive culture. Despite their uniqueness and widespread presence across the world, brass bands have received limited attention in Ghana. )is paper aims to
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33

Burtner, Matthew, Steven Kemper, and David Topper. "Network Socio-Synthesis and Emergence in NOMADS." Organised Sound 17, no. 1 (2012): 45–55. http://dx.doi.org/10.1017/s1355771811000501.

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NOMADS (Network-Operational Mobile Applied Digital System) is a network client–server-based system for participant interaction in music and multimedia performance contexts. NOMADS allows large groups of participants, including the audience, to form a mobile interactive computer ensemble distributed across a network. Participants become part of a synergistic interaction with other performers, contributing to the multimedia performance. The system enhances local performance spaces, and it can integrate audiences located in multiple performance venues. Individual user input from up to thousands o
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34

Blakeley, Ryan. "“The Part of the Music Industry That God Forgot”." Journal of Popular Music Studies 36, no. 2 (2024): 28–51. http://dx.doi.org/10.1525/jpms.2024.36.2.28.

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In October 2020, the B2B (business-to-business) background music company Soundtrack Your Brand—formerly Spotify Business—launched the world’s first full-catalog on-demand streaming service for background music. Although background music providers have licensed, curated, and distributed music to businesses for nearly a century, they have only recently started embracing the new possibilities of streaming. Now, streaming is rapidly influencing the background music industry’s features, music selection practices, and economics. While scholars in music and media studies have extensively studied B2C
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35

Apanowicz, Mateusz. "Physical performance of the students of music schools." Journal of Education, Health and Sport 8, no. 9 (2018): 113–23. https://doi.org/10.5281/zenodo.1344995.

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<strong><strong>Apanowicz Mateusz</strong></strong><strong><strong>. </strong></strong><strong><strong>Physical performance of the students of music schools</strong></strong><strong><strong>. </strong></strong><strong><strong> </strong></strong><strong><strong>Journal </strong></strong><strong><strong>of Education, Health and Sport. 2018;8(9):1</strong></strong><strong><strong>1</strong></strong><strong><strong>3-1</strong></strong><strong><strong>23</strong></strong><strong><strong>. eISNN 2391-8306. DOI </strong></strong><strong>http://dx.doi.org/10.5281/zenodo.1344995</strong> <strong>http:
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36

Ng, Kia. "Sensing and mapping for interactive performance." Organised Sound 7, no. 2 (2002): 191–200. http://dx.doi.org/10.1017/s1355771802002091.

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This paper describes a trans-domain mapping (TDM) framework for translating meaningful activities from one creative domain onto another. The multi-disciplinary framework is designed to facilitate an intuitive and non-intrusive interactive multimedia performance interface that offers the users or performers real-time control of multimedia events using their physical movements. It is intended to be a highly dynamic real-time performance tool, sensing and tracking activities and changes, in order to provide interactive multimedia performances.From a straightforward definition of the TDM framework
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37

Vukmirović, Nenad, Miljko Erić, Miloš Janjić, and Petar M. Djurić. "Direct Wideband Coherent Localization by Distributed Antenna Arrays." Sensors 19, no. 20 (2019): 4582. http://dx.doi.org/10.3390/s19204582.

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We address wideband direct coherent localization of a radio transmitter by a distributed antenna array in a multipath scenario with spatially-coherent line-of-sight (LoS) signal components. Such a signal scenario is realistic in small cells, especially indoors in the mmWave range. The system model considers collocated time and phase synchronized receiving front-ends with antennas distributed in 3D space at known locations connected to the front-ends via calibrated coaxial cables or analog radio frequency over fiber links. The signal model assumes spherical wavefronts. We propose two ML-type al
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38

Whalley, Ian. "Developing Telematic Electroacoustic Music: Complex networks, machine intelligence and affective data stream sonification." Organised Sound 20, no. 1 (2015): 90–98. http://dx.doi.org/10.1017/s1355771814000478.

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This paper proposes expanding telematic electroacoustic music practice through the consideration of affective computing and integration with complex data streams. Current telematic electroacoustic music practice, despite the distances involved, is largely embedded in older music/sonic arts paradigms. For example, it is dominated by using concert halls, by concerns about the relationship between people and machines, and by concerns about geographically distributed cultures and natural environments. A more suitable environment for telematic sonic works is found in the inter-relationship between
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39

Leković, Biljana, and Sanela Nikolić. "The Web 2.0 social media as a space for the creation of classical music experiences in the time of the pandemic: The case of the Belgrade Philharmonic Orchestra." New Sound, no. 61-1 (2023): 21–39. http://dx.doi.org/10.5937/newso23061021l.

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This paper shows how classical music left its canon-guaranteed spaces of the concert hall and stepped toward a broader community of audience using the virtual sphere of Web 2.0 social media tools, on the example of the work of the Belgrade Philharmonic Orchestra. We analyze how this orchestra uses social media to present and promote its repertoire and work during the period of pandemic measures and restrictions. The analysis indicates that in all its social media activities the orchestra was guided by the preservation of an autonomous aesthetic quality of classical music, as its value must rem
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Mr. K.K. Bajaj. "Identifying the Factors of E-service Quality among Indian Millennial Streaming Service Users." Tuijin Jishu/Journal of Propulsion Technology 44, no. 4 (2023): 3519–30. http://dx.doi.org/10.52783/tjjpt.v44.i4.1493.

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This research sought to explore the preferences of Indian Millennial in the realm of streaming services, specifically focusing on music. The goal was to uncover the intricate connections between various quality dimensions within six services: web design, performance, personalization, trust, satisfaction, and repurchase intention. Employing an e-service quality measurement and a quantitative research methodology, the study distributed questionnaires to 400 Indian millennial known for their heavy usage of music streaming services, gathered from local private colleges and universities. Data analy
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Mills, Roger. "Flight of the Sea Swallow: A Crossreality Telematic Performance." Leonardo 49, no. 1 (2016): 68–69. http://dx.doi.org/10.1162/leon_a_01166.

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Flight of the Sea Swallow is a cross-reality telematic performance project developed by the multimedia group blackhole factory. Live data from distributed heat, light and movement sensors is visualised within the virtual and real-world performance spaces, with the aim of increasing tele-presence for performers and audiences. This article describes the background of the project, as well as its design and implementation over several iterative performances.
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Nsairat, Nedal, Hussam N. Fakhouri, Rula Alsawalqa, and Faten Hamad. "Music Students’ Perception Towards Music Distance Learning Education During COVID-19 Pandemic: Cross-Sectional Study in Jordan." International Journal of Interactive Mobile Technologies (iJIM) 16, no. 06 (2022): 135–58. http://dx.doi.org/10.3991/ijim.v16i06.27193.

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During COVID-19 pandemic countries have faced various levels of COVID-19 infection rates, and millions of students are affected by changing the educational process. However, many music Schools have been faced with the challenge of dealing with a situation that necessitates emergency measures to continue the academic course in the midst of lock-downs and social distancing measures. Therefore, it is important to evaluate the effectiveness of online methods of learning and to decide their feasibility and appropriateness for music students. Thus, this research aimed to provide an analysis of Music
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Venkata Narasimha Raju Dantuluri. "Transforming music streaming with AI-driven data systems." World Journal of Advanced Research and Reviews 26, no. 2 (2025): 3096–103. https://doi.org/10.30574/wjarr.2025.26.2.2003.

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This article examines the technological evolution reshaping music streaming platforms through advanced artificial intelligence and sophisticated data architectures. It explores how the industry has transitioned from traditional content delivery to highly personalized experience engines powered by complex machine learning systems. The architectural foundations supporting these platforms combine robust data pipelines, low-latency inference systems, and distributed computing infrastructures capable of processing massive interaction volumes while maintaining responsiveness. The article analyzes th
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44

Stanek, Jeremy L., Kevin D. Komes, and Fred A. Murdock. "A Cross-Sectional Study of Pain Among U.S. College Music Students and Faculty." Medical Problems of Performing Artists 32, no. 1 (2017): 20–26. http://dx.doi.org/10.21091/mppa.2017.1005.

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OBJECTIVES: Studies over recent decades have demonstrated significant performance-related pain among professional musicians. However, there have been no large-scale studies to evaluate pain among college musicians. The aim of this study was to determine the prevalence and anatomical locations of performance-related pain among students and faculty at the college level and learn what musicians do when they have pain. METHODS: Cross-sectional data were collected using an online survey distributed to colleges across the United States. Data were analyzed using REDCap electronic data capture tools a
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Payne, Emily. "Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity by Linda T. Kaastra." Music & Science 5 (January 2022): 205920432211080. http://dx.doi.org/10.1177/20592043221108055.

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Chervyakova, Irina. "Bishop’s choir of Astrakhan in concerts of sacred music." St.Tikhons' University Review. Series V. Christian Art 45 (March 31, 2022): 153–63. http://dx.doi.org/10.15382/sturv202245.153-163.

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In the post-Soviet period, there was a noticeable increase in interest in the church singing art. Professional musicians were given the opportunity to perform and study music that had not been so widely distributed until that time. For many, another direction for self-realization has opened up. Spiritual music has increasingly begun to go beyond the scope of worship and is performed everywhere by both secular and church choirs on the stage. Thus, this kind of the richest Russian cultural heritage became more accessible not only for the parishioners of churches, but also for the listeners of co
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Slupskyi, Victor. "J. Pezel’s Music for the Ensemble of Copper Wind Instruments in the Context of German Tradition of the 17th Century." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (2022): 127–45. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.09.

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"The creative activity of Johann Pezel, the then-known multiinstrumentalist, whose creative path and kind of activity reflects the life and status of the musician of the Baroque era, is analyzed in the article in the context of the development of the German ensemble performance on copper wind instruments of the 17th century. It is noted that the motivation for the appearance of works for the ensemble of copper wind was a purely practical need to replenish the repertoire of urban performers. The works are written considering the technical capabilities of the instruments and follow the specifics
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Shin, Choonsung, and Yangmi Lim. "Design and Implementation of Impromptu Mobile Social Karaoke for Digital Cultural Spaces in the New Normal Era." Applied Sciences 13, no. 22 (2023): 12319. http://dx.doi.org/10.3390/app132212319.

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Although music singing and sharing is a most common cultural activity, users are not allowed to instantly share their own songs due to fixed streaming and listening services on the music service platforms. In order to deal with instant singing and listening together with other users, this research was conducted to propose a mobile social karaoke system that supports group creation and music sharing via smartphones. The proposed karaoke system consists of a social music cloud that provides impromptu mobile singing and sharing services on the user’s devices. The social music cloud manages a grou
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Collier, Geoffrey L., and James Lincoln Collier. "An Exploration of the Use of Tempo in Jazz." Music Perception 11, no. 3 (1994): 219–42. http://dx.doi.org/10.2307/40285621.

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Eight- and sixteen-bar segments of a large number of historical jazz recordings were timed with a stopwatch, and summary statistics were calculated from those measurements. A variety of aspects of the control of tempo were analyzed. Tempo is normally distributed when calculated in terms of metronome markings, but not when calculated in terms of durations. Jazz performance is very stable, even for solo performers. However, systematic patterns in the small variability observed indicate that it can serve expressive purposes, as evidenced by positive intercorrelations among alternative versions of
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Zieliński, Sławomir K., Hyunkook Lee, Paweł Antoniuk, and Oskar Dadan. "A Comparison of Human against Machine-Classification of Spatial Audio Scenes in Binaural Recordings of Music." Applied Sciences 10, no. 17 (2020): 5956. http://dx.doi.org/10.3390/app10175956.

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The purpose of this paper is to compare the performance of human listeners against the selected machine learning algorithms in the task of the classification of spatial audio scenes in binaural recordings of music under practical conditions. The three scenes were subject to classification: (1) music ensemble (a group of musical sources) located in the front, (2) music ensemble located at the back, and (3) music ensemble distributed around a listener. In the listening test, undertaken remotely over the Internet, human listeners reached the classification accuracy of 42.5%. For the listeners who
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