Thematische Bibliographien / Ecology – Songs and music

Auswahl der wissenschaftlichen Literatur zum Thema „Ecology – Songs and music“

Autor: Grafiati
Veröffentlicht am 26. Juli 2024
Zuletzt aktualisiert am 27. Juli 2024

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Zeitschriftenartikel zum Thema "Ecology – Songs and music"

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Sklavounakis, Georgios. „Semiotics on music charts: The signification of late-blooming hits in contemporary popular music“. Punctum. International Journal of Semiotics 9, Nr. 2 (2023): 189–208. http://dx.doi.org/10.18680/hss.2023.0025.

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Eliseo Verón’s approach to circulation focuses on the gap between production and recognition and the consideration of texts in relation to their contexts of production and consumption. In this paper, we employ Veron’s concepts of grammar of production and grammar of recognition to examine popular songs that reached their peak of success several years after their release. Drawing our case studies from the Hot 100 American singles chart, we combine social semiotics and semiotics of popular music to examine the contexts of the initial songs’ release and their eventual commercial peak while considering changes in the media ecology and how these songs re-entered popular culture. The corpus of songs examined is split into three major categories: Songs that re-entered popular culture after their performer’s passing, recurring Christmas- themed songs, and hits featuring in audiovisual productions like films and television series.
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Colares, Lucas, Ray Balieiro Lopes-Neto, Alexandre Sampaio de Siqueira, Camila Ferreira Leão, Arianne Flexa de Castro und Bárbara Dunck. „Functional diversity in human song“. PLOS ONE 19, Nr. 7 (12.07.2024): e0307032. http://dx.doi.org/10.1371/journal.pone.0307032.

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Functional diversity–i.e., the diversity of morphophysiological characteristics of species in a biological community–revolutionized ecology in recent decades, shifting the focus of the field from species to ecosystems. While its ecological applications are known, its adaptability to other disciplines, specifically music, is explored here. We retrieved fourteen characteristics of 12,944 songs by the top 100 artists of the 2010s decade on four streaming platforms. Then, we calculated the three main components of functional diversity–richness, evenness, and divergence–to each artist using probabilistic hypervolumes. Furthermore, we investigated to what extent functional diversity and the traits of an artist, its albums and songs has an effect on their popularity across streaming platforms such as Spotify. High functional richness, where an artist’s songs differ greatly sonically, correlated with increased listens of up to 244,300,000. This would lead to estimated profit earnings exceeding $1,000,000 per richness gain. Danceable, highly-energetic, melodic, pop, and, notably, melancholic songs, albums, and artists are more listened to than their counterparts in streaming services. We captured how patterns in human song might reflects the social state of human societies in recent years and demonstrate the potential of applying functional diversity concepts and tools across scientific and economic domains, extending its relevance beyond ecology. By demonstrating applications of state-of-the-art functional diversity metrics using music as a case study, we intent to communicate the often-complex concepts of functional diversity using the familiar realm of music, which is an intrinsic trait of human cultures across the globe.
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Zang, Bailing. „A Study of the Modes and Characteristics of Using Song Narratives in the Animation <Coco> (2017): The Songs 'La Llorona' and 'Remember me' as Examples“. Korean Society of Culture and Convergence 44, Nr. 11 (30.11.2022): 1065–82. http://dx.doi.org/10.33645/cnc.2022.11.44.11.1065.

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To examine the pattern and characteristics of the animation Coco by song narratives in the article, the song La Llorona with a prototype of folk song and the original theme song Remember me was taken as object of study. The applied pattern of animation music was analyzed based on the music theory of John D. White. It was found that two songs were narrative with micro-musical motives, meso-melodic phrases, and macro-complete music combined with images. The results demonstrated that It is the most prominent feature and novelty of the narrative system in the Animation Coco.
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Aasgaard, Trygve. „An Ecology of Love: Aspects of Music Therapy in the Pediatric Oncology Environment“. Journal of Palliative Care 17, Nr. 3 (September 2001): 177–81. http://dx.doi.org/10.1177/082585970101700310.

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This paper explores how music therapy can assist patients and relatives in the processes of making friendship and love audible in a child cancer ward. Four short patient histories are presented to illustrate a health-oriented, ecological music therapy practice. Two histories describe how texts, made by patients, become songs, and how the songs are performed and used. Another two histories deal with musical communication with dying children and their parents. The paper indicates that these interventions may involve more than palliation (making a disease less severe and unpleasant without removing its cause). Not least, such activities can make it possible for the sick child to expand from being “just a patient” into playing, if only for a moment, a more active social role. The processes of artistic interplay, in- and outside the sickroom, influence various relationships in the child's social environment.
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Giménez-Llort, Lydia. „‘You’re Not Alone for China’: The First Song in Times of COVID-19 to Keep the Faith in a World Crying in Silence“. Behavioral Sciences 12, Nr. 4 (24.03.2022): 88. http://dx.doi.org/10.3390/bs12040088.

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Collective mourning is an expression of societal maturity, cohesion, and respect. The world is in grief, but in early January 2020, before nobody could even imagine that SARS-CoV-2 would turn into the COVID-19 pandemic, a music video version of a pop ballad about love and isolation was spread across a Chinese social network. The song ‘You Are Not Alone’ was adapted as a cover by young foreigners living in China to express their support to bereaved families and frontline workers and encourage the people of China, their second home. At that time, the rest of the world looked to distant China but could hardly expect to face the same adversity months later. The authors reported that the music video was a spontaneous artistic expression copying such traumatic events and the mourning process. The present work analyses how the music was blended with lyrics and images describing the outbreak in Wuhan to reach their goal. The original song and this shortened version for China were compared regarding musical and lyric structures and main characteristics. Additionally, an analysis of the two videos was done regarding cinemetric variables and non-verbal communication that emphasized the power of songs to express deep sorrow and sympathy but also to give hope. Psychological first aid, the five stages of the mourning process by Kübler-Ross, the dual-process model by Stroebe and Schut, and Taylor’s tend-to-befriend provided a better understanding of the translation from interpersonal to societal mourning. Finally, other memorable songs that society spontaneously chose to be performed alone or together to cope with sudden and dramatic situations, mitigate physical distancing, and alleviate human suffering are discussed. Music, lyrics, and artistic performance are playing a key role in building social and emotional ties during this pandemic, hampering individual and social pain and sorrow despite cultural barriers.
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Hong, Mei, Dapeng Liang und Teng Lu. „“Fill the World with Love”: Songs with Prosocial Lyrics Enhance Online Charitable Donations among Chinese Adults“. Behavioral Sciences 13, Nr. 9 (04.09.2023): 739. http://dx.doi.org/10.3390/bs13090739.

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Research has shown that songs with prosocial lyrics can enhance individual prosociality. Building on the general learning model (GLM), this study demonstrated, through real-world charitable organizations, how songs with prosocial lyrics influence helping behavior that uses time as a currency. In Study 1, participants were randomly assigned to conditions of prosocial songs, prosocial lyrics, or neutral songs, and they were instructed to complete an online charity task. The results indicated that compared to the neutral songs, participants listening to prosocial songs and lyrics spent more time donating rice to the United Nations World Food Programme. This effect was replicated in Study 2, employing different media exposure from Study 1 (i.e., listening to background music). Furthermore, investigations into the underlying mechanisms revealed that this effect was mediated by interpersonal empathy. In summary, current findings suggest that songs with prosocial lyrics increase interpersonal empathy, subsequently influencing people’s online charitable donation behaviors in daily life.
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Yende, Sakhiseni Joseph. „Harnessing the Power of Indigenous Zulu Music to Promote Language, Culture, and Diversity“. Forum for Linguistic Studies 6, Nr. 3 (21.06.2023): 171–83. http://dx.doi.org/10.30564/fls.v6i3.6603.

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Indigenous Zulu music is a reflection of the Zulu people’s cultural and environmental surroundings, incorporating natural sounds and rhythms that highlight their close relationship with nature. This article explores how this music promotes language, culture, and diversity within the Zulu community. Drawing on Cultural Ecology Theory, which underscores the link between culture and the environment, the study examines how Zulu music adapts to these contexts. Methodologically, this qualitative study relied on secondary data from accredited scholarly sources, including journals, books, online government bulletins, and academic databases. The systematic review process ensured data reliability and validity, emphasising the role of indigenous Zulu music in preserving language and cultural identity. The findings reveal that Zulu music, through its songs and performances, celebrates the Zulu language and conveys significant stories and myths. This cultural expression serves as a means of preservation, ensuring the continuity of Zulu heritage. Moreover, the article discusses how integrating Zulu music into modern contexts sustains cultural diversity in South Africa. By blending traditional and contemporary music, Zulu musicians broaden their audience and share their cultural richness. This integration fosters cultural sustainability and dialogue, enriching the cultural landscape. In conclusion, indigenous Zulu music plays a vital role in preserving language, culture, and diversity among the Zulu community. Through its celebration of language and cultural heritage, Zulu music fosters intercultural understanding and represents the cultural richness of the Zulu people.
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Sakakibara, Chie. „‘No whale, no music’: Iñupiaq drumming and global warming“. Polar Record 45, Nr. 4 (Oktober 2009): 289–303. http://dx.doi.org/10.1017/s0032247408008164.

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ABSTRACTThis article explores how climate change has recently influenced the Iñupiaq cultural identity as the people of the whales. Their traditional whaling cycle reveals strong indivisibility of music, emotions, and place based human identity. To illustrate such integrity of the Iñupiat and their culturally critical bowhead whale (Balaena mysticetus), a search was made for specific ways in which climate change influences Iñupiaq spiritual and physical ties with the whale in relation to traditional music making. Traditionally, the Iñupiat say that it is the whale who brings them music, thus no whale harvest means no music production. However, when the environment is less predictable, the homeland eroded, place based songs gone, and human-whale integrity threatened, how specifically are these changes manifested in the Iñupiat-whale relationship? Providing detailed descriptions of 2005–2006 nalukataq (midsummer whale feasts), this article examines how contemporary Iñupiat respond to environmental changes in the emotional and cultural dimensions through their music making.
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Bharadwaj, Brijgopal, Ramani Selvanambi, Marimuthu Karuppiah und Ramesh Chandra Poonia. „Content-Based Music Recommendation Using Non-Stationary Bayesian Reinforcement Learning“. International Journal of Social Ecology and Sustainable Development 13, Nr. 9 (Januar 2022): 1–18. http://dx.doi.org/10.4018/ijsesd.292053.

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This paper presents a music recommendation system for the offline libraries of songs that employs the concepts of reinforcement learning to obtain satisfactory recommendations based on the various considered content-based parameters. In order to obtain insights about the effectiveness of the generated recommendations, parallel instances of single-play multi-arm bandit algorithms are maintained. In conjunction to this, the concepts of Bayesian learning are considered to model the user preferences, by assuming the environment’s reward generating process to be non-stationary and stochastic. The system is designed to be simple, easy to implement, and at-par with the user satisfaction, within the bounds of the input data capabilities.
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Ross, Lawrence. „The Rong Ngeng of the Andaman Coast: History, Ecology, and the Preservation of a Traditional Performing Art“. Manusya: Journal of Humanities 23, Nr. 3 (23.12.2020): 389–406. http://dx.doi.org/10.1163/26659077-02303008.

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Abstract This article examines recent grassroots strategies for preserving traditional performing arts along southern Thailand’s Andaman Sea Coast, focusing on rong ngeng, an idiomatic form of social dance and music, widely popular there in the post-World War Two years. Between 1935 and 1960 a small, mixed cohort of rural performing artists created networks of communities, scattered on Thai-Andaman, with a distinctive regional culture based in the shared repertoire of songs and dances they adapted, created an innovative lyrical style called phleng tanyong (Tanyong song), and a star system that turned village performers into local celebrities (Ross 2017, 68). More than a mere vibrant, short-lived micro-tradition which declined in the wake of a growing, hegemonic pan-Thai performing arts culture, however, rong ngeng has, since the 2000s, experienced a revival. The new incarnation was tied to economics, nostalgia, and a reawakening of local identity. Using a broadly cultural ecology approach which draws on more than a decade of fieldwork in the Thailand-Malaysia border region, oral accounts of rong ngeng performers, past and present, and comparisons with performance practices across the regions, this paper argues that efforts toward revival and sustainability have seen their greatest success among communities that possess several characteristics, including strong historical and genealogical links to erstwhile cultural practices, participatory forms of entertainment, and the ability among its members to articulate the relevance of performing arts to the society-at-large.
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Dissertationen zum Thema "Ecology – 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.
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Bücher zum Thema "Ecology – Songs and music"

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Sagebrush, Johnny. The Earth First! Li'l green songbook: Johnny Sagebrush and friends. Tucson, Ariz: Ned Ludd Books, 1986.

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Quattlebaum, Mary. Jo MacDonald saw a pond. Nevada City, Calif: Dawn Publications, 2011.

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Rose, Peter. Ocean world: An ecological musical for soloists, chorus, narrator & stage band : word book. London: J. Weinberger, 1991.

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Uzendoski, Michael. The ecology of the spoken word: Amazonian storytelling and shamanism among the Napo Runa. Urbana: University of Illinois Press, 2012.

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Law, Jessica. A hole in the bottom of the sea. Cambridge, MA: Barefoot Books, 2013.

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ill, Bryant Laura J., Hrsg. Jo MacDonald had a garden. Nevada City, Calif: Dawn Publications, 2012.

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Quattlebaum, Mary. Jo MacDonald saw a pond. Nevada City, Calif: Dawn Publications, 2013.

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Holly, Arntzen, Arntzen Holly, British Columbia und Parks Canada, Hrsg. Salish Sea: A handbook for educators. Victoria, B.C: Parks Canada, 2001.

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Pedelty, Mark. Ecomusicology: Rock, folk, and the environment. Philadelphia, Pa: Temple University Press, 2012.

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group), Fugazi (Musical. 13 songs. Washington, D.C: Dischord Records, 1989.

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Buchteile zum Thema "Ecology – Songs and music"

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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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Lal, Ananda. „Note on the Music Scores“. In Songs of Tagore, 53–55. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781003276869-5.

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Amos, Jonny. „Songwriters Pitching Songs to Recording Artists“. In The Music Business for Music Creators, 268–76. London: Focal Press, 2024. http://dx.doi.org/10.4324/9781003452119-41.

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Flinn, Caryl. „The Songs of Music46“. In The Sound of Music, 47–93. London: British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-910-5_3.

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Bolderman, Leonieke. „Sharing songs on Hirakata Square“. In Contemporary Music Tourism, 40–57. Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429318863-3.

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Tragaki, Dafni. „Acoustemologies of rebetiko love songs“. In Music as Atmosphere, 184–201. [1.] | New York : Routledge, 2019. | Series: Ambiances, atmospheres and sensory experiences of spaces: Routledge, 2019. http://dx.doi.org/10.4324/9780815358718-10.

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Johansson, Ola. „An Analysis of Swedish Pop Music“. In Songs from Sweden, 99–135. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2736-4_4.

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Konferenzberichte zum Thema "Ecology – Songs and music"

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Zubareva, Elena Aleksandrovna. „Music. Folklore. Ecology“. In IX International Research-to-practice conference. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-117587.

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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).
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Soleymani, Mohammad, Micheal N. Caro, Erik M. Schmidt, Cheng-Ya Sha und Yi-Hsuan Yang. „1000 songs for emotional analysis of music“. In the 2nd ACM international workshop. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2506364.2506365.

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Cheng, Zhiyong, Jialie Shen, Lei Zhu, Mohan Kankanhalli und Liqiang Nie. „Exploiting Music Play Sequence for Music Recommendation“. In Twenty-Sixth International Joint Conference on Artificial Intelligence. California: International Joint Conferences on Artificial Intelligence Organization, 2017. http://dx.doi.org/10.24963/ijcai.2017/511.

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Users leave digital footprints when interacting with various music streaming services. Music play sequence, which contains rich information about personal music preference and song similarity, has been largely ignored in previous music recommender systems. In this paper, we explore the effects of music play sequence on developing effective personalized music recommender systems. Towards the goal, we propose to use word embedding techniques in music play sequences to estimate the similarity between songs. The learned similarity is then embedded into matrix factorization to boost the latent feature learning and discovery. Furthermore, the proposed method only considers the k-nearest songs (e.g., k = 5) in the learning process and thus avoids the increase of time complexity. Experimental results on two public datasets demonstrate that our methods could significantly improve the performance of both rating prediction and top-n recommendation tasks.
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Sridhar, Rajeswari, und T. V. Geetha. „Music Information Retrieval of Carnatic Songs Based on Carnatic Music Singer Identification“. In 2008 International Conference on Computer and Electrical Engineering (ICCEE). IEEE, 2008. http://dx.doi.org/10.1109/iccee.2008.118.

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Hishida, Hirotoshi, Yoshihiro Komatsu, Tomohiro Nomura, Yasuhiro Hishida und Keiko Hishida. „Music Database for Earphone Hearing Loss Prevention and Music Therapy - American Musical Songs -“. In 13th International Multi-Conference on Complexity, Informatics and Cybernetics. Winter Garden, Florida, United States: International Institute of Informatics and Cybernetics, 2022. http://dx.doi.org/10.54808/imcic2022.02.40.

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Das, Nikhil, Esther Ramdinmawii, Ajit Kumar und Sanghamitra Nath. „Vocal Singing and Music Separation of Mizo Folk Songs“. In 2023 4th International Conference on Computing and Communication Systems (I3CS). IEEE, 2023. http://dx.doi.org/10.1109/i3cs58314.2023.10127457.

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Garcia-Garcia, Dario, Jeronimo Arenas-Garcia, Emilio Parrado-Hernandez und Fernando Diaz-de-Maria. „Music genre classification using the temporal structure of songs“. In 2010 IEEE International Workshop on Machine Learning for Signal Processing (MLSP). IEEE, 2010. http://dx.doi.org/10.1109/mlsp.2010.5589240.

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Liu, Yi, und Yue Gao. „Acquiring Mood Information from Songs in Large Music Database“. In 2009 Fifth International Joint Conference on INC, IMS and IDC. IEEE, 2009. http://dx.doi.org/10.1109/ncm.2009.311.

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Kuusi, Tuire, Ivan Jimenez und Matthew D. Schulkind. „Identifying Beatles songs from their chord progressions: New evidence of the effect of specialized harmonic familiarity, melodic cues, and transposition on the identification of songs from chord progressions“. In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0035.

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Berichte der Organisationen zum Thema "Ecology – 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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