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Zeitschriftenartikel zum Thema "Addition – Songs and music"
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Dong, Aoran, Ruizhe Qiu und Zhen Ye. „Regression Analysis of Song Popularity based on Ridge, K-Nearest Neighbors and Multiple-Layers Neural Networks“. Highlights in Science, Engineering and Technology 39 (01.04.2023): 609–17. http://dx.doi.org/10.54097/hset.v39i.6602.
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Contemporarily, human beings are working on the implementation of artificial intelligence technology in the arts fields, where the music is one of the directions. Before humans can create a song with artificial intelligence, it is necessary to understand the song first. This research tries to find out the relationship between the song's popularity and several selected songs' physical parameters based on statistics and machine learning. According to the analysis, this research proves that there is no significant relationship between selected physical parameters and the song's popularity. In addition, machine learning algorithms also do not find the potential relationships between them. In this case, it is safe to conclude that creating the song by considering these selected physical parameters is meaningless. On this basis, scholars should try to find out what factors make the song popular in terms of analyzing songs differently. These results shed light on guiding further exploration of future music analysis and artificial intelligence in music fields.
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Siebenaler, Dennis J. „Student Song Preference in the Elementary Music Class“. Journal of Research in Music Education 47, Nr. 3 (Oktober 1999): 213–23. http://dx.doi.org/10.2307/3345780.
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In 1996, the Music Educators National Conference (now MENC—The National Association for Music Education) published a list of 42 songs that “every American should know” as part of a nationwide campaign to promote singing. The purpose of the present study was to determine student preferences for several songs on the list, as well as how familiarity with a song may be related to that preference. In addition, possible interactions of gender, grade level, language spoken at home, rehearsal, and self-evaluations of singing were also examined. Ten songs, all limited to a one-octave range, were selected from the MENC list of songs. Subjects ( N =160) were nine intact classes of third, fourth, and fifth graders (three classes at each grade level) in an urban school. During their regularly scheduled music class, subjects listened to the 10 recorded songs and rated each on a 5-point Likert-type scale for both preference and familiarity. In 10 subsequent classes, each song (one song per class) was rehearsed for 10 minutes, followed by another preference rating and a self-evaluation of performance quality. This investigation examined possible relationships between students' familiarity with a song and their subsequent preference for the song. Correlations for individual songs ranged from .40 to .64 with a mean correlation over all 10 songs at .57. A significant difference ( p < .01) between grade levels was found for both familiarity and preference. The youngest subjects responded most positively. Boys indicated a consistent decline in both song familiarity and preference from Grades 3 to 5. Grade level, gender, and language spoken at home (English or Spanish) interacted significantly ( p < .01) in their effect on song preference for these elementary students. Mean preference ratings were consistently higher after the 10-minute rehearsal with one exception (“De Colores”). The student subjects rated themselves consistently high in self-evaluations of singing.
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Kim, Seon ah. „From early composed art songs in Japanese occupation period to korean style art songs: the correlation between poetry and music in Park Tae-joon s art Song“. Korean Society of Music Education Technology 47 (30.04.2021): 209–28. http://dx.doi.org/10.30832/jmes.2021.47.209.
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A study on the analysis of Park Tae-joon s art song is the first step in studying the process of transforming from early composing song to Korean style art songs in the early modern era of Korea. IIt focused on changing musical factors of his pieces from his initial period of time until the time when he established matured technique. I analyzed how the music expressed the lyrics when it sings a poem and how Korean elements were used in Park Tae-joon s music works.
Generally Park Tae-joon composed simple music with regular phrase such as children s songs and hymns. Sometimes he tried to express the meaning of poetry matching texts with music by using musical elements like word painting, figurations of piano accompaniment and using irregular time. In addition, although he composed art songs that are western musical forms, he tried to use Korean musical idioms, which commonly used in Korean traditional songs called “Min-yo” such as a pentatonic scale, triple meter and Saeya harmony. This study finds that Park Tae-joon tried to find his identities of Korean art songs in the early modern era of Korea.
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PINARBAÅžI, Fatih. „DEMYSTIFYING MUSICAL PREFERENCES AT TURKISH MUSIC MARKET THROUGH AUDIO FEATURES OF SPOTIFY CHARTS“. TURKISH JOURNAL OF MARKETING 4, Nr. 3 (25.12.2019): 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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Revuluri, Sindhumathi. „French Folk Songs and the Invention of History“. 19th-Century Music 39, Nr. 3 (2016): 248–71. http://dx.doi.org/10.1525/ncm.2016.39.3.248.
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A favorite project of scholars in late-nineteenth- and early-twentieth-century France was to collect folk songs from various French provinces and to add new harmonic accompaniments before publishing them. This folk-song project, like so many others, has obvious nationalist undertones: gathering songs from every French province and celebrating an essential and enduring French spirit. Yet the nuances of this project and its broader context suggest a diverse set of concerns. An examination of the rhetoric around folk-song collection shows how French scholars of the period conflated history and geography: they made the provinces the place of history. Collecting songs from the provinces thus became a way of recovering France's past. Paired with contemporary discussions of musical progress and especially those related to harmony, the addition of piano accompaniments to monophonic songs now reads as a form of history writing. In this article, I argue that French music scholars of the fin de siècle acted out their preferred narratives of music history through folk-song harmonizations. What seemed like a unanimously motivated nationalist project actually reveals the development and contestation of the discipline of music history.
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Sugiarto, Lie Luky Andreas, Agus Cahyo Nugroho und FX Hendra Prasetya. „Design of Melodi Nusantara Rhythm Game to Introduce Traditional Indonesians Song“. Journal of Business and Technology 3, Nr. 3 (06.12.2023): 121–28. http://dx.doi.org/10.24167/jbt.v3i3.10225.
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At The culture of traditional music and songs in Indonesia is one of the results of intellectual and cultural richness, which plays an important role in the lives of traditional communities. In addition, traditional music and songs are also national assets that embody strategic values for both Indonesia and foreign parties. Therefore, there is a need to protect traditional music and songs in Indonesia. "Melodi Nusantara" is the name of a game developed to support and introduce traditional music and songs of Indonesia. The game "Melodi Nusantara" is a rhythm game genre. The rhythm game genre is very popular and loved by all, and this game requires players to follow the rhythm of a song. This game is very suitable for listening to music while playing. With the existence of the "Melodi Nusantara" game, it is hoped that players will be able to recognize the music culture of each region in Indonesia. And researchers can also see if the "Melodi Nusantara" game will continue to be useful for players and if they would want play the "Melodi Nusantara" game in the future.
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Jacob, Uri. „A Musical Stereotype? Repetitive Formations of Women’s Voices in the Trouvère Repertory“. Journal of Musicology 40, Nr. 4 (2023): 456–84. http://dx.doi.org/10.1525/jm.2023.40.4.456.
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This article focuses on the effects of extensive melodic repetition in twelve Old French monophonic songs preserved in chansonniers (song books) from the thirteenth century. All these songs share a specific formal pattern: at least three initial poetic verses (or pairs of verses) set to the same melody. While the methodological point of departure for this study revolves around musical form and melodic construction, five songs within this group of twelve involve women speakers within their poetic texts—a relative rarity in medieval song. In addition to reviewing the cultural, cognitive, emotional, and performative implications of repetition, the article considers how repetitive melodic patterns intersect with and complement the feminine emphases of the text, arguing that this combination is not coincidental. As demonstrated by a close reading of these five songs, repetition has the potential to depict deliberately distinct female figures, ranging from a woman who longs for the touch of her absent crusading lover to the Virgin Mary herself. Repetition thereby serves in these songs to destabilize both the widespread trope of courtly love and the gendered implications of the chanson as a poetic and musical genre.
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Lee, Bo-Ram, und Jee-Hea Baek. „Aspects of song making in 5-year-old children's free play“. Korean Association For Learner-Centered Curriculum And Instruction 23, Nr. 3 (15.02.2023): 811–28. http://dx.doi.org/10.22251/jlcci.2023.23.3.811.
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Objectives This study observed the musical expression and musical play of 5-year-old children in free play, and examined the genre of songs and the aspects of song-making in the process.
Methods The researcher was participatory observation 16 5-year-old children from A daycare center located in D city for about 6 months from March to August 2021. Data were collected through video recording and recording of the process of making songs spontaneously appearing in children's free play, and data such as teacher's observation diary and researcher's diary were additionally collected and analyzed.
Results First, song-making in the free play of 5-year-olds started with various genres of music, and appeared as trot singing, changing the words of a song while singing a cartoon theme, and making a new song with a nursery rhyme. Second, the aspects of children's voluntary song-making were expressed by expressing rhythm, playing scales with melodic instruments, and changing the words of the song, and they made Bora class battle cry, our class songs, and welcome songs.
Conclusions This suggests that educational support for the provision and utilization of various music genres is necessary for young children's creative music-making experience, and music utilizing musical elements such as rhythm, melody, tone, and form to develop musical expression and cognitive ability. It suggests that there is a need to actively provide activities. In addition, it suggests that teachers should be sensitive to children's active musical expressions and reactions, focus on children's creativity in musical activities, and pay attention to new music created by children.
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Nurinsani, Bella, Rida Nurul Manilah und Anita Anggareni. „THE ANALYSIS OF ED SHEERAN SONGS TO IMPROVE STUDENT’S LISTENING SKILL“. PROJECT (Professional Journal of English Education) 1, Nr. 2 (22.10.2019): 71. http://dx.doi.org/10.22460/project.v1i2.p71-76.
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This Study entitled “The Analysis of Ed Sheeran Songs to Improve Student’s Listening Skill”. The research was aimed to find out improved student’s listening skill ability. Wheather Ed Sheeran songs was founding increase student’s listening skill, because Ed Sheeran is a singer from England (UK) and his dialect of English is British English, so we were learning British English from the Ed Sheeran songs. In addition, Ed Sheeran was preferred many people in the world. People in the world had been understanding a lesson if a lesson had found for them, and we can’t deny if people in the world like songs and music. A song is the sound of art tone in the order, combination and the temporal relationship usually with accompanied by a musical instrument, the produce the music that has unity and continuity. The approach of this research is qualitative.
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Pawley, Alisun, und Daniel Müllensiefen. „The Science of Singing Along: A Quantitative Field Study on Sing-along Behavior in the North of England“. Music Perception 30, Nr. 2 (01.12.2012): 129–46. http://dx.doi.org/10.1525/mp.2012.30.2.129.
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the study investigates contextual and musical factors that incite audiences in Western music entertainment venues to sing along to pop songs. Thirty nights of field research were carried out in five entertainment venues across northern England. The percentage of people singing along was recorded for each of the 1,054 “song events,” serving as the dependent variable. In addition, musical analysis was carried out on the songs of a subset of 332 song events. Nine contextual factors as well as 32 musical features of the songs were considered as different categories of explanatory variables. Regression trees and a random forest analysis were employed to model the empirical data statistically. Results indicate that contextual factors can account for 40% of the variability in sing-along behavior, while adding musical factors into the model – in particular those relating to vocal performance – was able to explain about another 25% of the variance. Results are discussed with respect to theoretical approaches on neo-tribal behavior.
Dissertationen zum Thema "Addition – Songs and music"
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Hubbard, Colton M. „Tea Songs“. University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116378208.
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Lanci, Michael P. „Songs for Joe Hill“. University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin149580760300849.
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Hung, Justin. „Songs about Words“. Digital Commons @ Butler University, 2020. https://digitalcommons.butler.edu/grtheses/523.
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A song cycle for baritone and mixed chamber ensemble, "Songs about Words" consists of five songs for everyday concepts and subjects, and explores deeper themes of communication and identity. The ensemble consists of piano, accordion, tenor saxophone, percussion and double bass. The text was inspired by Pablo Neruda and written by the composer.
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Baron, Michael David. „The songs of Franz Liszt“. Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234717504.
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Hood, Errik M. „Teaching the Songs of Ivor Gurney:An Applied Studio Guide to the Utilization of Fourteen Songs“. The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1448468099.
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Nguyễn, Xuân-Thaʼo Joseph. „Music ministry the inculturation of liturgical vocal music in Vietnam /“. Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.
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Jones, Reba Pestun. „An examination of coal mining song repertoire in the Virginia elementary music curriculum with the creation and incorporation of a suggested coal mining musical unit of study /“. < Digital Thesis and Dissertation Collection > Username and password required for access, SU only, 2003. http://www.su.edu/library/digitalthesis/jonesreba.pdf.
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Wood, Kenneth Edward. „An investigation and analysis of selected Victorian art songs /“. Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004204.
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Van, Rhyn Chris. „Towards a mapping of the marginal : readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers“. Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85813.
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Thesis (PhD)--Stellenbosch University, 2013.ENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity.
AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.
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Sigurjónsson, Jóhannes. „Reference Music As Guidelines : Using reference music to create better songs“. Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-73989.
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This essay examines how reference music can be used as a tool to fix weaknesses within my own songwriting and production process. The weaknesses were found by analysing feedback from other students on my own music. Four reference artists were then analysed with the intent of finding solutions to these weaknesses. Four new songs were then written and produced by implementing the solutions from the reference artists into the creative process. The results were mostly positive, as the songs had improved on various issues found in the feedback analysis. However, the method restricted the creative process in some occasions rather than inspiring it. The reasons for this are in part due to the choice of reference artists and which aspects of their music were in focus for the analysis.I detta arbete undersöker jag hur referensmusik kan användas som ett verktyg för att stärka svagheter i mitt eget låtskrivande- och produktionsprocess. Svagheterna hittades genom att analysera feedback från andra studenter på min egen musik. Därefter analyserades fyra referensartister med syftet att hitta lösningar på dessa svagheter. Fyra nya låtar skrevs sedan och producerades genom att implementera lösningarna från referensartisterna till den kreativa processen. Resultaten var mestadels positiva, eftersom låtarna förbättrades på olika svagheter som hittades i feedbackanalysen. Metoden begränsade dock den kreativa processen i vissa tillfällen snarare än att inspirera den. Anledningarna till detta beror dels på valet av referensartister och vilka aspekter av deras musik som analyserna var inriktade på.
Bücher zum Thema "Addition – Songs and music"
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Productions, Star Trax. Add-a-rap. Guelph, Ont: Star Trax Productions, 1990.
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Feldman, Jean R. Addition pokey (tune, hokey pokey). Vero Beach, FL: Rourke Pub., 2010.
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group), Fugazi (Musical. 13 songs. Washington, D.C: Dischord Records, 1989.
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Dean, Gene. Country songs and talk songs. [Virginia]: Goodway Pub., 1998.
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Babyface. Love songs. New York, NY: Epic, 2001.
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Ann, Little Miss. Music for tots. [Place of publication not identified]: [publisher not identified], 2006.
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Race, Steve. My music - my songs. London: Novello, 1987.
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Baird, Tadeusz. Songs and orchestral music. London: Olympia, 1993.
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Hornby, Nick. 31 songs. London: Viking, 2003.
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Furia, Philip. America's Songs. London: Taylor and Francis, 2006.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Addition – Songs and music"
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Chow, Yiu Fai, Jeroen de Kloet und Leonie Schmidt. „We Think We Should Stop Now“. In Contemporary East Asian Visual Cultures, Societies and Politics, 197–209. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6710-0_7.
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AbstractWe borrow the last line of Tat Ming Pair’s hit song “High-flown 天花亂墜” (1989) as the title of our final chapter, or more accurately, our coda to the book. We think we should withdraw our voice now—in the previous six chapters, we have been speaking. We have also, of course, made an attempt to let Tat Ming speak, as well as their works—their songs, their MVs, their concerts. We have invited the voices of those who, more or less intensely or immediately, were inspired by Tat Ming in creating their own cultural products. Occasionally, we have included the voices of fans. It dawns on us that perhaps we should dedicate this coda to this purpose. In 2022, Tat Ming staged their second series of REPLAY concerts in Hong Kong. In addition, they organised an online event, especially for fans who could not be there—it was still in the midst of pandemic and the stringent travel regime. Using the song “High-flown” as prompt, they asked fans to send in how Tat Ming’s music has felt for them. Fans would be selected, upon their submissions, to converse directly with Tats and Anthony during the online session. We have secured a copy, with courtesy of Tat Ming, and made our own selection to be included here. We have decided to complement the fans’ responses with images we deem befitting, conversing, resonating. It is perhaps also our manner to pay tribute to the affective, evocative, and future-making potentials of cultural productions we discussed when we started this book.
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Poady, Antoine Cano, Chanel Ouetcho, Angélique Stastny und Matthias Kowasch. „Kanak Cultural Heritage on Colonised and Damaged Lands“. In Geographies of New Caledonia-Kanaky, 149–61. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-49140-5_12.
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AbstractThis chapter – co-authored by two Kanak knowledge holders (a clan chief and a singer-songwriter) and two European researchers (from political science and geography) – discusses how Kanak communities deal with cultural heritage in the present, in a context of colonial legacies, institutional conservatism and depleting natural resources. We focus specifically on the communities of Bako and Touaourou in Paicî Cèmuhi and Drubea-Kapumë countries, respectively. We first analyse colonial policies of land dispossession and cultural oppression, as well as the ongoing inadequate support for Kanak languages from school institutions. We then discuss the ways in which grassroots initiatives testify to resilient and resurgent spaces for Kanak languages and cultural heritage in such contexts, by taking the example of (1) the work of the Agency for the Development of Kanak Culture (ADCK) to record oral histories, myths and toponyms as important identity markers and (2) Kaneka music as a contemporary transmitter of Kanak languages and cultural practices. In addition to the collection of toponyms in Kanak communities, Kaneka music is popular amongst young people and elders. Bands such as Humaa-gué from Touaourou provide songs engaging with colonial history, Kanak cultural life and practices, the mining industry and current sociopolitical issues. We draw the conclusion that the educational institution responds inadequately to Kanak needs, and initiatives undertaken by Kanak people at the grassroots level are key to the continuance of Kanak languages, cultural heritage and practices.
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Akuno, Emily Achieng’. „Children’s songs“. In Music Education in Africa, 299–314. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Routledge studies in music education: Routledge, 2019. http://dx.doi.org/10.4324/9780429201592-19.
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Thomas, Richard K. „Campfire Songs“. In Music as a Chariot, 109–32. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315145631-6.
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Amos, Jonny. „Releasing Cover Songs and Remixes“. In The Music Business for Music Creators, 167–68. London: Focal Press, 2024. http://dx.doi.org/10.4324/9781003452119-24.
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Archer, W. G. „Steps and Music“. In Love Songs of Vidyāpati, 117. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003104216-79.
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Simeone, Nigel, John Tyrrell und Alena Němcová. „Folk-Music Editions“. In Janáěek’s Works, 339–42. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198164463.003.0013.
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Abstract In addition to the 2057 numbered songs and dances, there are many others included in Janacek’s Introduction and 17 street cries in an Appendix (pp.1157-63). Most items are given as a single-stave tune, but some (e.g. nos 1729-39) are given in score for a variety of folk instruments. The book was originally issued in two parts: i (1899; 907 songs); ii (1901; 1150 songs).
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Caldwell, John. „Secular Vocal Music, 1575—1625“. In The Oxford History of English Music, 389–459. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198161295.003.0007.
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Abstract THE secular music of Elizabethan and Jacobean England does not fall into such neatly defined categories as was once supposed. Even the word ‘secular’ is not very helpful for the purpose of definition, since much that was written for domestic use was unambiguously sacred in content.’ Consort-song, lute-song, and part-song (embracing the madrigal), are all interrelated. In addition, there are the various genres of domestic psalmody and sacred songs, including those for voice or voices with the accompaniment of’whole’ or mixed consort.
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Fischer, Steven Roger. „Songs“. In Rongorongo The Easter Island Script, 301–13. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198237105.003.0025.
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Abstract The categories of inscriptions mentioned above do not include the many types of additional songs or chants that perhaps comprised a portion of the original rongorongo corpus. It would be wrong here to separate song (‘a short musical composition of words and music’) from chant (‘a rhythmic monotonic utterance’), as one is wont to do with other societies’ oral literature. Ancient Polynesian music lacked those melodic and structural elaborations that would require such a distinction.
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Gibson, Rachel. „Rondas (Singing Games)“. In ¡Canta Conmigo!, 39–68. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197624913.003.0006.
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Part 2: La Música (The Music) contains 90 joyful songs learned on playgrounds, in classrooms, and from families and teachers. The repertoire allows for musical play and movement, encourages lyrical improvisation, and fosters community. The collection is organized into three categories: Rondas (Singing games), Rimas y Juegos (Chants and games), and Canciones (Songs). Canciones, which comprises 51 songs, includes many pieces with accompanying actions as well as three religious songs and three in a Mayan language, Kaqchikel. La Musica includes song transcriptions, game or movement directions, English translations, informant and location citations, brief notes on song histories or performance practice, and illustrations by the Mayan artist Sucely Puluc. Field video, audio recordings, and additional song information on the companion website allow teachers and students to witness the songs in authentic contexts, demonstrate singing games, guide in pronunciation, and learn more about the history of the songs.
Konferenzberichte zum Thema "Addition – Songs and music"
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Yeganeh, Nashmin, Ivan Makarov, Snorri Steinn Stefánsson Thors, Hafliði Ásgeirsson, Árni Kristjánsson und Rúnar Unnþórsson. „Vibrotactile Sleeve to Improve Music Enjoyment of Cochlear Implant Users“. In ASME 2022 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/imece2022-95591.
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Abstract This study presents a new design of a wearable vibrotactile device — a tactile sleeve consisting of three voice coil actuators (Model: Lofelt L5). The device was made within an R&D project aimed at developing a wearable for enhancing the music perception of cochlear implant recipients. The aim is to provide tactile stimulation in addition to the cochlear implant stimulation — generating an audio-tactile music experience. We also present the results of an experiment performed to investigate whether the sleeve can be used to identify songs from tactile stimulation and investigate the effects of different encodings. Five short music segments were used, and the tactile stimulation provided by each voice coil actuator conveyed song information (Bass or drum). Participants had intact hearing. At the beginning of the experiment, the participants listened to one song via headphones. Afterward, they were presented with various tactile encodings of the songs in random order. Their task was to identify the encoding of the song that was played. In this experiment, an investigation of the best combination of information from the bass versus drums was conducted. The results confirm that the sleeve can provide tactile stimulation that can be used to identify songs without audio. The results also provide insights into which encodings are most useful for conveying music.
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Oliveira, Gabriel P., und Mirella M. Moro. „Mining Exceptional Genre Patterns on Hit Songs“. In Symposium on Knowledge Discovery, Mining and Learning. Sociedade Brasileira de Computação - SBC, 2023. http://dx.doi.org/10.5753/kdmile.2023.232412.
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The music industry has always been complex and competitive. Nowadays, combining different genres has become a common practice to promote new music and reach new audiences. Given the diversity of combinations between all genres, predictive and descriptive analyses are very challenging. Here, our goal is to mine frequent and exceptional patterns in music collaborations that have achieved success in both global and regional markets. We use the Apriori algorithm to mine genre patterns and association rules that reveal how music genres combine with each other in each market. The results show significant differences in the behavior of each market and a strong influence of the regional factor on musical success. In addition, we are able to use such patterns to identify and recommend promising genre combinations for such markets through the association rules.
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„Usage Habits in Music Streaming Applications and Their Influence on Privacy Related Issues [Research in Progress]“. In InSITE 2019: Informing Science + IT Education Conferences: Jerusalem. Informing Science Institute, 2019. http://dx.doi.org/10.28945/4272.
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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In a later stage, we intend to test privacy related issues in music streaming applications and the factors that influence privacy concerns when using these services. Methodology: This is examined by using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage includes semi-structured interviews with 10 music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g. change in classification methods and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 200-250 users of music streaming applications, aiming to explore personal information management issues and privacy related issues that emerge while using these applications (e.g. privacy concerns). Currently, a pilot of the qualitative stage was issued. Findings: We found that users still rely on traditional methods of personal information management, rather than making use of the newer features available by the innovative music streaming applications. The same applies to the use of these applications as part of a social activity. In addition, it seems that the emergence of music streaming applications influenced the sense of ownership over songs in personal music libraries and made it ambiguous among music consumers. Contribution: As far as we know, this is the first academic research to investigate the issue of personal music management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications.
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Svobodová, Zdeňka, und Michaela Šilhavíková. „Současný stav hudebního vzdělávání v Maďarsku a Nizozemsku a postoje tamních učitelů k lidové písni (výsledky 1. výzkumné sondy)“. In Musica viva in schola. Brno: Masaryk University Press, 2023. http://dx.doi.org/10.5817/cz.muni.p280-0272-2023-10.
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This paper looks at research on music teachers’ attitudes towards folk songs. The investigation of the Department of Music, Faculty of Education, Masaryk University in Brno began by looking at the situation in the Czech Republic and was subsequently extended to a broader European context. Our analysis compares the first results obtained in Hungary and the Netherlands, emphasizing the current state of cultural and social change and its impact on teaching folk songs in schools. In addition to the above, it also presents the current position of folklore in contemporary Hungarian and Dutch society.
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Milić, Ivana. „VEŽBE DISANjA U FUNKCIJI RAZVIJANjA POJMA PRIRODNIH BROJEVA“. In Metodički aspekti nastave matematike. University of Kragujevac, Faculty of Education in Jagodina, 2021. http://dx.doi.org/10.46793/manm4.225m.
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Today, there are many pedagogical-psychological and methodological research studies which highlight the importance of music education for the further development of preschool children. The goals of music education in preschool institutions, in addition to envisaging the harmonious development of each child and the engagement of his/her entire personality, greatly contribute to the creation of a basis for later musical education. These goals determine the role of music education, which must be multifunctional and achieved through specific activities in integration with other disciplines. Therefore, the paper presents examples of integrating content of music ed- ucation and initial mathematical concepts. Considering that singing children’s songs is one of the most common forms of work in music education, and that is necessary to prepare children’s singing apparatus at the beginning of each activ- ity, the paper presents breathing exercises as a tool for developing the concept of natural numbers.
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Wang, Jiacheng, und Liangming Jia. „Usability of music application interface systems“. In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003199.
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The mobile digitalization of music has been a part of people's lives for a few decades. As people enter the stage of transformation from Web 2.0 to 3.0, traditional Internet carriers and other major companies' apps are facing a change. In addition to the quality of the digital products that come with the apps themselves, the visual matching of the user interface, the logic of the operating framework and the adhesion of the user community have all become key factors. Purpose: This study aimed to examine the preferences, behaviors, and ease of use of music apps by students in tertiary institutions, the mainstream group of internet users, in order to provide reference suggestions for the future development of music apps in the Web 3.0 stage.Methods: In this study, the top three apps downloaded (Sample 1 "Spotify"; Sample 2 "QQ music," and Sample 3 "NetEase Cloud Music") were selected from the existing apps in China and Taiwan for the experimental design. The experiment consisted of five task steps: (A) bookmarking songs; (B) sharing songs with friends; (C) creating a new song list with a specific name; (D) searching for a specific song; and (E) changing personal information. Thirty subjects were recruited (purposive sampling), with 10 participants operating each app. Data were collected on task performance time and from the System Usability Scale (SUS), Post-Study System Usability Questionnaire (PSSUQ) and semi-structured interview results. The collected data were tested by one-way ANOVA and LSD post-hoc tests to confirm the significance between variables and specific analyses.Results: The results showed that (1) among the five operational tasks, Task A (p = 0.01 < 0.05) showed a significant difference in operational performance; then, according to the LSD post-hoc test results, the operational time of Sample 1 (M = 15.30, SD = 8.98) was significantly lower than that of Sample 3 (M = 33.67, SD = 16.77), which was not significantly different from that of Sample 2 (M = 23.11, SD = 9.89). There was no significant difference with Sample 2 (M = 23.11, SD = 9.89). (2) According to the SUS scale results, there was a significant difference in the participants' evaluation of the ease of use of the three apps (p = 0.01 < 0.05). According to the LSD post-hoc test results, Sample 1 (M = 85, SD = 8.82) was significantly higher than Sample 2 (M = 66.25, SD = 17.05) and Sample 3 (M = 69.75, SD = 13.15), with no significant difference between Samples 2 and 3. (3) According to the PSSUQ results, there was a significant difference in the interface quality profile, as seen in the LSD post-hoc test results, where Sample 2 (M = 2.93, SD = 0.72) scored significantly lower than Sample 1 (M = 3.9, SD = 0.85) and Sample 3 (M = 3.9, SD = 0.61).Discussions: The three apps are all music players, and the underlying logic of operation is the same, so there is little noticeable performance difference. Sample 1 is the only one of the three apps that has black as the primary visual color of the interface, with green accents. The darker color enhances the user's time to complete tasks and provides a better user experience. When performing tasks, the subjects would invariably look for the icon representing their data in the bottom right corner.
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Weinberger, Maor, und Dan Bouhnik. „The Emergence of Music Streaming Applications and Its Effect on Changes in Personal Information Management and Privacy Related Issues [Abstract]“. In InSITE 2020: Informing Science + IT Education Conferences: Online. Informing Science Institute, 2020. http://dx.doi.org/10.28945/4523.
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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In addition, we explore the extent of user privacy concern in using music streaming applications. Background: This paper represents the second phase of the article titled Usage Habits in Music Streaming Applications and their Influence on Privacy Related Issues [Research in Progress] (Weinberger & Bouhnik, 2019). Methodology: The research is conducted using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage is a pilot which includes semi-structured interviews with three music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g., changes in classification and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 192 users of music streaming applications (Male – 72.9%, Female – 27.1%; Age: 18-58), aiming to explore personal information management issues and privacy related issues that emerge while using these applications. Contribution: As far as we know, this is the first academic research to investigate the issue of personal information management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications. Findings: We found major changes between personal musical information management in the past and in the present. As most of the participants (85.4%) prefer nowadays to sort musical items in playlists or not to sort them at all. Out of the participants who chose to sort in folders in the past, only 42.7% still do it at present and out of the participants who chose to sort by alphabetical order in the past, only 15.7% do it at present. Also, we found that the participants have medium sense of ownership over the songs being stored on their streaming applications (M=2.78, SD=1.46) and medium sense that those applications may be used as social activity (M=2.75, SD=1.25). Interestingly, the choice of "sophisticated" genres (e.g. Blues, Jazz or Classical) as favorite music genre predicts the perception of using music streaming applications as part of social activity (R2=0.044, p<0.05). As for privacy concern, it was found that although the participants are moderately concerned about privacy within music streaming applications (M=2.67, SD=1.15), they are willing to pay for higher privacy protection services if they will be offered to them (r=0.49, p<0.001). In general, participants were found to be moderately willing to pay for premium services (M=2.44, SD=1.01), with ad-free service (M=3.07, SD=1.54) being the highest ranked premium service. Impact on Society: The research may drive music streaming applications operators to offer premium services that provide various benefits, such as: ad-free usage, higher privacy protection or better social features, as participants are willing to pay for those features. They may also personalize their users by preferred music genres, to adapt the specific service being offered to them.
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Zhang, Hui, Xinjie Liang und Yingping Cao. „The Influence of Background Music Popularity on Consumer Online Shopping Behavior: A Model Analysis“. In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005414.
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With the popularity of online shopping, online e-commerce is paying more attention to the impact of sensory marketing on consumer behavior. Previous studies suggest that music plays a significant role in enhancing the online shopping experience for consumers. However, the specific patterns of consumer impulse that music induces are yet to be fully discovered. Therefore, the study aims to explore the influence of music popularity on online shopping behavior in reference to the familiarity on emotion regulation. The results can create a better auditory environment for users' shopping experience and give a guidance for merchants to choose music that fits their brand positioning.MethodThirty participants (15 females) between the ages of 19 and 33 (M = 23.8, SD = 3.2) were recruited and all had years of online shopping experience. Participants were evenly assigned to three groups(no-music group, non-pop music group, and pop music group). The task scenario of participants is to buy a pair of sports shoes, so we simulated the current mainstream e-commerce shopping website to make online shopping pages of sports shoes. We first got 50 popular and 50 non-popular songs based on popularity on the charts of various music platforms. Then 10 of each the most popular and the least popular songs were selected from each of the two groups based on user feedback. Participants were asked to browse eight goods while listening to music in a quiet indoor environment. In terms of objective data collection, eye tracker was used to record participants' browsing time, browsing track and focusing position. After that, we used a questionnaire to collect the subjective evaluation. The questionnaire mainly includes three parts: recording emotions before shopping, recording behaviors during shopping (direct purchase, add shopping cart, share and collection), and recording experiences after shopping (ranking of purchase intention, emotions and music feelings). Finally, we conducted a qualitative analysis of semi-structured interviews to improve the experimental design.ResultsA t-test of the experimental data revealed that the duration of participant browsing markedly increased when shopping with music, in comparison to shopping without music (p<0.05). Compared with non-pop music, the subjects were more familiar with pop music and listened to it for a longer time. During the experience with popular music, the emotional arousal of the participants significantly increased in the shopping context (p<0.05). More precisely, the heightened shopping excitement contributed to an elevated rate of adding items to the cart and sharing these selections.ConclusionOur research shows that music popularity significantly influences online consumer behavior. Specifically, in terms of the connection between music types and shopping experience, pop music first increases users' attention to goods. In addition, familiar music enhanced the arousal dimension of mood, thus promoting the arousal of desire to buy. These insights enhance our comprehension of the strategic use of background music in e-commerce shopping contexts. Based on the conclusions of the research, a better auditory experience can be created for users in the shopping scene in the future. In terms of business application and marketing strategy, it can also guide merchants to strategically use music to influence mood changes and promote product consumption.
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Zhang, Hui, Wanyi Wei und Yingping Cao. „The effect of congruity between background music language and brand culture on consumer behavior“. In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005449.
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Numerous research have explored how musical elements affect consumer behavior in the retail scenario. But this claim has not been fully proven in the online shopping scenario, which has become one of the current mainstream consumption methods. Some researchers have stressed the value of musical congruity, the majority of their discussions have focused on the structural characteristics (rhythm, volume, genre, etc.) or affective characteristics (style, familiarity, valence, etc.), and the cultural characteristics (nation, territory, language, etc.) of music seem to be less discussed. This study focuses on the different music languages to explore the influence of the context effect brought by the cultural characteristics of music on consumer behavior. Language variations in music are primarily represented in the lyrics. The study aims to explore how music enhances the online shopping experience by influencing users' cognitive and emotional responses. It also provides guidance on music selection for e-commerce brands to use music strategically to promote goods consumption.In this study, we simulated the current mainstream e-commerce shopping websites to make online shopping pages of sneakers and selected the music (music with Chinese lyrics, music with English lyrics) on the mainstream music platform charts as experimental materials. The experiment recruited 30 participants (15 females; all of them have online shopping experience); they were divided into three groups (no music, music with Chinese lyric, music with English lyric) and asked to choose a pair of sneakers for themselves from randomly given goods (Chinese brands *8, European and American brands *8) under different background music. We captured the participants' browsing duration, trajectory, and focus position with the eye tracker. Participants' cognitive responses (product purchase intention ranking, product evaluation, music experience), emotional response (PAD emotion), and final behavioral response (direct purchase, shopping cart addition, sharing, collection) were collected through questionnaires.According to the experimental data's T-test, from the perspective of brand, when the music language and brand culture are consistent, the sharing rate of goods will increase. From the perspective of music, goods that have the same nation with background music will get a higher share rate. Compared with the environment without music, the user's pleasure and arousal are significantly improved under both Chinese songs and European and American songs.Our research shows that congruity between music language and brand culture leads to higher levels of pleasure and significantly affects online consumer behavior. When the music culture is consistent with the brand, the rate at which consumers share the goods increases. The pleasant user experience brought by musical congruity increases consumers' evaluation of the cognitive response of the product, thus positively affecting consumers' purchase intention. The experimental results provide new insights into music selection in the online shopping scene in the field of auditory marketing. It enriches the existing literature on musical congruity and cultural characteristics.
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Folorunso, S. O., O. O. Banjo, J. B. Awotunde und F. E. Ayo. „Machine Learning Analysis of Music Based on Music Information Retrieval Tasks“. In International Workshop on Social Impact of AI for Africa 2022. AIJR Publisher, 2024. http://dx.doi.org/10.21467/proceedings.157.3.
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Music Information Retrieval (MIR) methods extracts from music high-level information like classification, musical feature extraction, song similarity and tonality. Musical genre is one of the orthodox methods of describing musical content and a significant part of MIR. At present, few MIR research has been done on Nigerian songs. So, this paper proposed to build a genre classification model based on Mel Spectrogram of audio songs. The process first converts ORIN audio dataset to Mel Spectrogram and extract numerical information from it using the Histogram of Oriented Gradient (HOG) and apply machine learning (ML) models to accurately categorize the songs into different genres of Apala, Fuji, Juju, Highlife and Waka. Support Vector Machine (SVM) with 4 different kernels, with 10- cross validation method were applied and assessed based on Accuracy and Receiver operating characteristics (ROC).
Berichte der Organisationen zum Thema "Addition – Songs and music"
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Berrian, Brenda F. Chestnut Women: French Caribbean Women Writers and Singers. Inter-American Development Bank, Juli 2001. http://dx.doi.org/10.18235/0007945.
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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse und Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.
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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Sun, Chenbing, Zhe Wang und Yuening Dai. Music therapy for sleep quality in cancer patients with insomnia：A protocol for systematic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, Dezember 2021. http://dx.doi.org/10.37766/inplasy2021.12.0128.
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Review question / Objective: The aim of this systematic review is to compare music therapy in terms of efficacy in cancer patients with insomnia disorders to better inform clinical practice. Condition being studied: The effectiveness of music therapy for cancer- associate insomnia is the main interest of this systematic review. Information sources: MEDLINE (PubMed, Ovid) The Cochrane Library, Web of Science, Embase and Electronic retrieval of Chinese Biomedical Literature Database (CBM), China National Knowledge Infrastructure (CHKD-CNKI), VIP database, Wanfang Database will be searched from inception time to date. In addition, the included literature will be reviewed and relevant literature will be supplemented.