Relevant bibliographies by topics / Music and language

Academic literature on the topic 'Music and language'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Music and language"

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Sparling, Heather. "“Music is Language and Language is Music”." Ethnologies 25, no. 2 (April 13, 2004): 145–71. http://dx.doi.org/10.7202/008052ar.

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Abstract In this article, the author considers the effects of language attitudes, a sociolinguistic concern, on musical practice. This article assumes that language and music attitudes are related as different expressions in and of a common cultural context. The author demonstrates how Scots Gaelic language attitudes in Cape Breton (where a few hundred people still speak the language) have developed, and considers the possible interplay with current attitudes towards two particular Gaelic song genres. Gaelic language learners and native/fluent speakers in Cape Breton articulated distinct and opposing attitudes towards the song genre of puirt-a-beul [mouth music], and these attitudes are examined in relation to those towards the Gaelic language and compared with their response to eight-line songs, a literary Gaelic song type. Detailed musical and lyric analyses of three Gaelic songs are provided to illustrate the connection between language and music attitudes. The current attitude towards Gaelic in Cape Breton is traced through the history of language policy in Scotland and Cape Breton. These sociolinguistic and musicological analyses are supplemented with ethnographic evidence.
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Brown, Steven. "Music of language or language of music?" Trends in Cognitive Sciences 12, no. 7 (July 2008): 246–47. http://dx.doi.org/10.1016/j.tics.2008.04.003.

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Redhead, Lauren. "Musik und Sprache: Music/Language/Speech." Contemporary Music Review 39, no. 3 (May 3, 2020): 293–98. http://dx.doi.org/10.1080/07494467.2020.1821520.

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Küpper, Joachim. "Einige Überlegungen zu Musik und Sprache." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 1 51, no. 1 (2006): 9–41. http://dx.doi.org/10.28937/1000107608.

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Der Artikel nimmt die vieldiskutierte Frage des Verhältnisses von absoluter Musik und Sprache auf. Einleitend setzt er sich mit den beiden gängigen Thesen der Forschung: Musik habe keine Bedeutung, oder aber Musik habe eine Bedeutung analog der der Sprache, kritisch auseinander. In einem zweiten Schritt wird gezeigt, daß die Prozesse der Semantisierung absoluter Musik im Prinzip den Prozessen ähnlich sind, vermittels deren wir sprachlichen Lauten bestimmte Bedeutungen zuweisen. In einem weiteren Schritt indes wird die These entwickelt, daß die Struktur von Musiklaut-Verknüpfungen und von Sprachlaut-Verknüpfungen unterschiedlichen Prinzipien folgt und auf diese Weise die Bedeutung von Sprachlauten immer eine wesentlich andere ist als die von Musiklauten. Abschließend wird aus Sicht dieser These die besondere Musik-Affinität der poetischen Sprache neu begründet. The article resumes the discussion on the relation of absolute music and language. Firstly, a critical look is taken at the two current theses: that music bears no meaning, or rather, that music is meaningful analogue to language. The second step describes the concept that processes conferring meaning upon music do not differ from corresponding processes regarding language. In a further step, however, the case is made that the structure of sound concatenations follows different principles concerning music on the one hand and language on the other, so that ›meaning‹ should be considered as a separate category with regard to music and language. Finally, the article tries to shed a new light on the particular affinity of the language of poetry to music.
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Schellenberg. "Does Language Determine Music in Tone Languages?" Ethnomusicology 56, no. 2 (2012): 266. http://dx.doi.org/10.5406/ethnomusicology.56.2.0266.

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Temperley, David. "Music and Language." Annual Review of Linguistics 8, no. 1 (January 14, 2022): 153–70. http://dx.doi.org/10.1146/annurev-linguistics-031220-121126.

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This review presents a highly selective survey of connections between music and language. I begin by considering some fundamental differences between music and language and some nonspecific similarities that may arise out of more general characteristics of human cognition and communication. I then discuss an important, specific interaction between music and language: the connection between linguistic stress and musical meter. Next, I consider several possible connections that have been widely studied but remain controversial: cross-cultural correlations between linguistic and musical rhythm, effects of musical training on linguistic abilities, and connections in cognitive processing between music and linguistic syntax. Finally, I discuss some parallels regarding the use of repetition in music and language, which until now has been a little-explored topic.
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Bollinger, C. E. "Language of Music." Science News 166, no. 2 (July 10, 2004): 31. http://dx.doi.org/10.2307/4015533.

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Ready, Trisha. "Music as Language." American Journal of Hospice and Palliative Medicine® 27, no. 1 (July 2009): 7–15. http://dx.doi.org/10.1177/1049909109338387.

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Christensen, Erik. "Music Precedes Language." Norsk Tidsskrift for Musikkterapi 9, no. 2 (July 2000): 32–35. http://dx.doi.org/10.1080/08098130009477999.

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Feld, Steven, and Aaron A. Fox. "Music and Language." Annual Review of Anthropology 23, no. 1 (October 1994): 25–53. http://dx.doi.org/10.1146/annurev.an.23.100194.000325.

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Dissertations / Theses on the topic "Music and language"

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McLeod, Andrew Philip. "Language of music : a computational model of music interpretation." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31371.

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Automatic music transcription (AMT) is commonly defined as the process of converting an acoustic musical signal into some form of musical notation, and can be split into two separate phases: (1) multi-pitch detection, the conversion of an audio signal into a time-frequency representation similar to a MIDI file; and (2) converting from this time-frequency representation into a musical score. A substantial amount of AMT research in recent years has concentrated on multi-pitch detection, and yet, in the case of the transcription of polyphonic music, there has been little progress. There are many potential reasons for this slow progress, but this thesis concentrates on the (lack of) use of music language models during the transcription process. In particular, a music language model would impart to a transcription system the background knowledge of music theory upon which a human transcriber relies. In the related field of automatic speech recognition, it has been shown that the use of a language model drawn from the field of natural language processing (NLP) is an essential component of a system for transcribing spoken word into text, and there is no reason to believe that music should be any different. This thesis will show that a music language model inspired by NLP techniques can be used successfully for transcription. In fact, this thesis will create the blueprint for such a music language model. We begin with a brief overview of existing multi-pitch detection systems, in particular noting four key properties which any music language model should have to be useful for integration into a joint system for AMT: it should (1) be probabilistic, (2) not use any data a priori, (3) be able to run on live performance data, and (4) be incremental. We then investigate voice separation, creating a model which achieves state-of-the-art performance on the task, and show that, used as a simple music language model, it improves multi-pitch detection performance significantly. This is followed by an investigation of metrical detection and alignment, where we introduce a grammar crafted for the task which, combined with a beat-tracking model, achieves state-of-the-art results on metrical alignment. This system's success adds more evidence to the long-existing hypothesis that music and language consist of extremely similar structures. We end by investigating the joint analysis of music, in particular showing that a combination of our two models running jointly outperforms each running independently. We also introduce a new joint, automatic, quantitative metric for the complete transcription of an audio recording into an annotated musical score, something which the field currently lacks.
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Roxbergh, Linus. "Language Classification of Music Using Metadata." Thesis, Uppsala universitet, Avdelningen för systemteknik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-379625.

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The purpose of this study was to investigate how metadata from Spotify could be used to identify the language of songs in a dataset containing nine languages. Features based on song name, album name, genre, regional popularity and vectors describing songs, playlists and users were analysed individually and in combination with each other in different classifiers. In addition to this, this report explored how different levels of prediction confidence affects performance and how it compared to a classifier based on audio input. A random forest classifier proved to have the best performance with an accuracy of 95.4% for the whole data set. Performance was also investigated when the confidence of the model was taken into account, and when only keeping more confident predictions from the model, accuracy was higher. When keeping the 70% most confident predictions an accuracy of 99.4% was achieved. The model also proved to be robust to input of other languages than it was trained on, and managed to filter out unwanted records not matching the languages of the model. A comparison was made to a classifier based on audio input, where the model using metadata performed better on the training and test set used. Finally, a number of possible improvements and future work were suggested.
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Kay, Marja Liisa. "Contemporary vocal music : language, technology and contemporary vocal music of Finland." Thesis, University of York, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583263.

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This thesis is centred on a number of contemporary vocal performances and projects I encountered, and often single-handedly organised, during years of study and exploration. An introduction provides insights as to how I came to connect my original performance research goals with additional subject matters in an effort to provide a more complete illustration of the broad span of the music at hand. The bulk of this submission lies within the recordings of performances, which are supported by three exploratory chapters that discuss the relationships of the works to one another. The first chapter examines Finnish contemporary vocal music from a performer's point of view. Following this are two chapters that look at selected vocal works of two of the most internationally famous composers today, Esa-Pekka Salonen and Kaija Saariaho, in juxtaposition with an array of non-Finnish composition that share common themes. These chapters are accompanied by five audio CDs and one DVD, an extensive listing of recording tracks and performances, programmes and notes from all relevant concerts, press releases and reviews where applicable. An afterword sums up conclusions I arrived at regarding the role ofthe contemporary vocal artist and our responsibilities to the future of musical art.
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Erickson, David Allen. "Language, ineffability and paradox in music philosophy /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2111.

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Garwood, Eileen. "Profiles of English language music therapy journals." Thesis, Temple University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564809.

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The purpose of this study was to present a content analysis of seven music therapy journals in the English language in order to provide an objective documentation of the longitudinal growth of the field. The current study examined seven English language music therapy journals including the Journal of Music Therapy, Music Therapy: Journal of the American Association for Music Therapy, Music Therapy Perspectives, The Australian Journal of Music Therapy, The Nordic Journal of Music Therapy, The British Journal of Music Therapy, and The New Zealand Society for Music Therapy Journal. A total of 1,922 articles were coded according to author information (name, credentials, institution, geographic location), mode of inquiry, population studied, and subsequent article citation. Results indicated a broad range of research topics with a rapid rise in music and medicine research beginning in the 1980s. Research authors in music therapy comprise a diverse group of authors both from the United States and abroad. This study highlighted transitions in institutional productivity moving from clinical settings to academic settings. Over the course of 50 years, there have been continuous changes in various aspects of the music therapy literature that document the continuing growth of the profession.

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Pérez-Sancho, Carlos. "Stochastic language models for music information retrieval." Doctoral thesis, Universidad de Alicante, 2009. http://hdl.handle.net/10045/14217.

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Houston, David. "Music and language the case for music in linguistic curricula and research." Saarbrücken VDM Verlag Dr. Müller, 2006. http://d-nb.info/991593936/04.

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Youngs, Marisa B. "THE LANGUAGE OF MUSIC: LINGUISTICS IN TRUMPET PEDAGOGY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/115.

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For decades, many brass teachers have relied heavily upon speech as a means of conveying pedagogical concepts. Additionally, a significant number of teachers in the brass community continue to use speech sounds to teach specific kinesthetic responses (i.e. using specific vowels for tone production, particular consonants for articulation, and variations of vowels for different pitch registers). These teaching concepts have been perpetuated over time, though many intricate aspects of human anatomy were yet to be understood at the inception of these methods, including the physiological processes used during speech. As technology has evolved, researchers in the field of linguistics have made significant discoveries regarding the production and perception of speech. As a result of these innovations, researchers now understand more about individual languages than ever before. This document aims to critique popular beliefs regarding speech directives often utilized in trumpet pedagogy, such as guiding a student by saying “tah,” “too,” “tee,” etc. to produce a desired sound concept. A significant portion of this document also outlines an ultrasound experiment conducted by the author in the Phonetics Laboratory at the University of Kentucky, in which exercises were designed to determine if speech vowels are in fact used during trumpet playing. During this study, subjects wore a lightweight headset with an ultrasound probe placed under the chin. The ultrasound probe allowed the researcher a midsaggital (side) view of the subject’s oral cavity, displaying vowel placements and articulatory phenomena. While using the ultrasound imaging technology, subjects played a short selection of musical exercises on B-flat trumpet and then read aloud a pre-selected list of English words, designed to display multiple combinations of vowel and consonant pairings. Both the trumpet exercises and reading of the word list were audio recorded and simultaneously paired with the corresponding ultrasound video data. After playing the selected exercises, subjects completed a brief written questionnaire of personal language history to ascertain possible influences upon dialect. The ultrasound videos were then analyzed with the audio recordings to map each individual’s tongue placements during speech as compared to the placements utilized during trumpet playing. The author concluded that a majority of participants did not use the specific placements of speech vowels while playing the trumpet, although some participant data displayed a slightly stronger correlation than others. While many conclusions could be drawn from this research study, the corresponding data is intended for a purely observational understanding of the influence of linguistics upon trumpet performance and pedagogy. This document is presented in two parts: Part I contains introductory research material, as well as the process, analysis, and conclusions from the experiment outlined above. Part II contains recital programs and corresponding program notes in fulfillment of the degree of Doctor of Musical Arts in Trumpet Performance, as well as a personal vita.
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Poss, Nicholas. "Hmong Music and Language Cognition: An Interdisciplinary Investigation." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1332472729.

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Mull, Danielle. "Music as A Language: Does Music Occupy Verbal Working Memory in Experienced Musicians?" Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/783.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf
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Psychology
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Books on the topic "Music and language"

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Chiara, Maria Luisa Dalla, Roberto Giuntini, and Federico Laudisa, eds. Language, Quantum, Music. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-017-2043-4.

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Gretz, Ronald. Music language & fundamentals. 2nd ed. Madison, WI: Wm.C. Brown Publishers, 1994.

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Mc Kevitt, Paul, Seán Ó Nualláin, and Conn Mulvihill, eds. Language, Vision and Music. Amsterdam: John Benjamins Publishing Company, 2002. http://dx.doi.org/10.1075/aicr.35.

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Eismont, Polina, Olga Mitrenina, and Asya Pereltsvaig, eds. Language, Music and Computing. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05594-3.

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Eismont, Polina, and Natalia Konstantinova, eds. Language, Music, and Computing. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-27498-0.

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Hirata, Keiji, Satoshi Tojo, and Masatoshi Hamanaka. Music, Mathematics and Language. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-5166-4.

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Menon, V. K. Narayana. The language of music. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 1994.

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Crumey, Andrew. Music, in a foreign language. New York: Picador, 1996.

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Mitchell, Donald. The language of modern music. Philadelphia: University of Pennsylvania Press, 1994.

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Emmerson, Simon, ed. The Language of Electroacoustic Music. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18492-7.

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Book chapters on the topic "Music and language"

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Melnechuk, Theodore, and Robert J. Zatorre. "Music." In Speech and Language, 61–62. Boston, MA: Birkhäuser Boston, 1989. http://dx.doi.org/10.1007/978-1-4899-6774-9_26.

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Honing, Henkjan. "Music as language." In Music Cognition, 29–43. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003158301-4.

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Lagercrantz, Hugo. "Language and Music." In Infant Brain Development, 107–15. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-44845-9_9.

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Griffith, Niall J. L. "Music and language." In Advances in Consciousness Research, 191–203. Amsterdam: John Benjamins Publishing Company, 2002. http://dx.doi.org/10.1075/aicr.35.19gri.

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Thomas, Richard K. "Music and Language." In Music as a Chariot, 133–57. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315145631-7.

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Mâche, François-Bernard. "Language and Music." In Phonurgia Universalis: Universals in Music, 43–57. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-58509-8_6.

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Di Francia, Giuliano Toraldo. "Music and Science." In Language, Quantum, Music, 327–38. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-017-2043-4_29.

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Becker, Howard S. "Musical Language." In Roads to Music Sociology, 95–109. Wiesbaden: Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-22279-6_7.

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Lampl, Kenneth. "The Language of Film Music." In Film Music, 42–61. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003289722-4.

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Gottfried, Terry L. "Music and language learning." In Language Experience in Second Language Speech Learning, 221–37. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/lllt.17.21got.

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Conference papers on the topic "Music and language"

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Ferrarese, Samuele. "THE LANGUAGE OF MUSIC AND THE MUSIC OF LANGUAGE." In 11th annual International Conference of Education, Research and Innovation. IATED, 2018. http://dx.doi.org/10.21125/iceri.2018.0114.

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Frengel, Mike. "Reconciling musical language in mixed works." In ACM SIGGRAPH 2009: Music & Audio. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1597983.1597985.

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Li, Hanchao, David Yee Fan Zuo, Xiang Fei, Kuo-Ming Chao, Ming Yang, and Chaobo He. "Music Definition Language & Music Manipulation Language: A Coding Scheme for Music Representation and Storage." In 2017 IEEE 14th International Conference on e-Business Engineering (ICEBE). IEEE, 2017. http://dx.doi.org/10.1109/icebe.2017.44.

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Suzuki, Ryohei, Takashi Watanabe, and Takashi Iba. "Music Composition Patterns: A Pattern Language for Touching Music." In EuroPLop '22: 27th European Conference on Pattern Languages of Programs. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3551902.3565071.

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Stoikos, Stefanos, David Kauchak, Douglas Turnbull, and Alexandra Papoutsaki. "Cross-Language Music Recommendation Exploration." In ICMR '23: International Conference on Multimedia Retrieval. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3591106.3592274.

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Varas, María. "MUSIC SUPPORTED BY SIGN LANGUAGE." In Congreso Educación Musical con Euterpe 2020. Mauricio Rdoríguez López, 2019. http://dx.doi.org/10.32650/9788498816204_5.pdf.

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Aleshinskaya, Evgeniya. "Multilingualism in Russian Popular Music Discourse." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.5-5.

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Drawing evidence from reviews on Russian musical websites, English-language song lyrics written by native Russian speakers, and multilingual performances in a popular TV show, the paper takes an anthropological approach to explore such forms of blending languages in popular music as mixed professional jargon, a localized variety of global English, and a new mode of interactivity – mixing languages and music(s) as a form of expressing meanings. The data obtained through discourse analysis were supplemented by online interviews with famous Russian musicians available on internet sources, quasi-ethnographic interviews with professional musicians, and a qualitative analysis of audience’s comments on the language choice and meaning of the songs. In this study, multilingualism is viewed as a component of the Russian musician’s linguistic personality. Multilingual practices in popular music reveal such characteristics of the musician’s linguistic personality as professionalism, creativity, commitment to authenticity, global aspirations, and local attachment.
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Brown, Hunter, and Michael Casey. "Heretic: Modeling Anthony Braxton's Language Music." In 2019 International Workshop on Multilayer Music Representation and Processing (MMRP). IEEE, 2019. http://dx.doi.org/10.1109/mmrp.2019.00015.

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Brown, Hunter, and Michael Casey. "Heretic: Modeling Anthony Braxton's Language Music." In 2019 International Workshop on Multilayer Music Representation and Processing (MMRP). IEEE, 2019. http://dx.doi.org/10.1109/mmrp.2019.8665363.

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Martinez, Juan Carlos. "Extending Music Notation as a Programming Language for Interactive Music." In IMX '21: ACM International Conference on Interactive Media Experiences. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3452918.3458807.

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Reports on the topic "Music and language"

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Abdulkhaliq, Zubeida S. Kakai Religion and the Place of Music and the Tanbur. Institute of Development Studies, January 2023. http://dx.doi.org/10.19088/creid.2023.001.

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This paper discusses the historical context and mythic framework of the Kakai religion. While some information regarding Kakai theological views and beliefs may be known to outsiders, many facets of their religious life, customs and traditions remain undisclosed. Much secrecy surrounds this religion, and non-believers are not encouraged to engage in or witness most Kakai rites. Geopolitical instability in the Kurdistan region also makes access difficult. Throughout this paper we will look at the relationship between Kakai beliefs and music (tanburo), and how the tanbur (a sacred lute) is not merely a musical instrument but is seen as a symbol of Kakai identity, with the music preserving language and legend.
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Zuo, Lingyan, Fengting Zhu, Rui Wang, Hongyan Shuai, and Xin Yu. Music intervention affects the quality of life on Alzheimer’s disease: a meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, December 2021. http://dx.doi.org/10.37766/inplasy2021.12.0055.

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Review question / Objective: Inclusion criteria: population: 1) A randomized controlled study on the impact of music intervention on the QOL of patients with AD; 2) The participants in this study is patients with AD; 3) There is no significant difference among age, gender and education background in sorted groups before analysis which make these groups comparable; intervention: 1)Intervention Modality Music-based intervention; comparison: 1) All data were sorted into two groups: the music intervention group and the control group without any music intervention; outcome: 1) The indicators evaluated in the literature included the score of QOL-AD or WHOQOL-BERF scale, at least one of the two scales summarized in selected publications; language: 1) Only articles published in English and Chinese were considered. Exclusion criteria: 1) The participants were not diagnosed with AD; 2) Non-musical intervention;3) Non-RCTs; 4) No specific values for outcome variables; 5) Articles lacking original data; 6) Repeat published reports; 7) Full text could not be obtained.
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Anzillotti Zamorano, Marta. ECMI Minorities Blog. The Cultural Appropriation of Flamenco: Views of Gitanos from Jerez de la Frontera. European Centre for Minority Issues, May 2023. http://dx.doi.org/10.53779/aapl9656.

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With discussions surrounding cultural appropriation ongoing in numerous spheres including music, fashion, and language, this blogpost explores the ever-changing nature of culture through the first-hand accounts of Gitanos from Jerez de la Frontera. The presence of the Gitano minority in Jerez has historically had – and continues to have – a significant impact on the city. This is especially true regarding flamenco, an artform encompassing centuries of history and culture. In this blogpost, the author uses interviews and a survey conducted for her MA thesis, as well as two case studies (namely that of Lola Flores and Rosalía), to explore the various ways of approaching and contextualizing theoretical understandings of cultural appropriation.
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Maia, Maercio, Abrahão Baptista, Patricia Vanzella, Pedro Montoya, and Henrique Lima. Neural correlates of the perception of emotions elicited by dance movements. A scope review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, February 2023. http://dx.doi.org/10.37766/inplasy2023.2.0086.

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Review question / Objective: The main question of the study is "how do dance neuroscience studies define and assess emotions?" The main objective is to establish, through the available literature, a scientific overview of studies in dance neuroscience that address the perception of emotions in the context of neuroaesthetics. Specifically, it is expected to verify if there is methodological homogeneity in studies involving the evaluation of emotions within the context of dance neuroscience; whether the definition of emotion is shared in these studies and, furthermore, whether in multimodal studies in which dance and music are concomitantly present, whether there is any form of distinction between the contribution of each language on the perception of emotions evoked by the stimulus.
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Wang, Lili, Xuesong Wang, Yin Wu, Lingxiao Ye, Yahua Zheng, and Rui Fan. The Effects of Non-Pharmacological Therapies for Psychological State of Medical Staff in the Post-epidemic Era: A Protocol Network Meta-Analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, February 2022. http://dx.doi.org/10.37766/inplasy2022.2.0080.

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Review question / Objective: To compare and rank the clinical effects of Non-Pharmacological Therapies for Psychological State of Medical Staff in the Post-epidemic Eradifferent. Eligibility criteria: The published randomized controlled trials (RCT) of non-Pharmacological Therapies for Psychological State of Medical Staff in the Post-epidemic Era, regardless of age and gender. Patients had clear diagnostic criteria to be diagnosed. Interventions in the treatment group included were various types of non-pharmacological therapies, including various types of acupuncture therapies (such as simple acupuncture, electroacupuncture, warm acupuncture, acupuncture catgut embedding, Auricular therapy, or the combination of acupuncture and other Non-Pharmacological Therapies), meditation, Baduanjin, Tai Chi, aerobic exercise, yoga, psychotherapy, music therapy, etc.; the control group was conventional treatment groups or different non-pharmacological therapies compared with each other. The results of the report are required to include at least one of the following outcome indicators: The self-Rating Anxiety Scale (SAS), the Self-Rating Depression Scale (SDS), the Pittsburgh sleep quality index (PSQI), and effectiveness rate. The language of the publication is limited to Chinese or English.
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Raychev, Nikolay. Can human thoughts be encoded, decoded and manipulated to achieve symbiosis of the brain and the machine. Web of Open Science, October 2020. http://dx.doi.org/10.37686/nsrl.v1i2.76.

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This article discusses the current state of neurointerface technologies, not limited to deep electrode approaches. There are new heuristic ideas for creating a fast and broadband channel from the brain to artificial intelligence. One of the ideas is not to decipher the natural codes of nerve cells, but to create conditions for the development of a new language for communication between the human brain and artificial intelligence tools. Theoretically, this is possible if the brain "feels" that by changing the activity of nerve cells that communicate with the computer, it is possible to "achieve" the necessary actions for the body in the external environment, for example, to take a cup of coffee or turn on your favorite music. At the same time, an artificial neural network that analyzes the flow of nerve impulses must also be directed at the brain, trying to guess the body's needs at the moment with a minimum number of movements. The most important obstacle to further progress is the problem of biocompatibility, which has not yet been resolved. This is even more important than the number of electrodes and the power of the processors on the chip. When you insert a foreign object into your brain, it tries to isolate itself from it. This is a multidisciplinary topic not only for doctors and psychophysiologists, but also for engineers, programmers, mathematicians. Of course, the problem is complex and it will be possible to overcome it only with joint efforts.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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Berggren, Erik. Migration and Culture. Linköping University Electronic Press, August 2024. http://dx.doi.org/10.3384/9789180757638.

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This report is written by students in the Ethnic and Migration Studies Master’s Programme, part of the Research Institute in Migration, Ethnicity, and Society (REMESO) at Linköping University, based on the Norrköping campus. REMESO is an internationally renowned institute that pursues research in migration and ethnic relations. The Master’s Programme is highly sought after, with students coming from all over the world to attend. Their interest in how migration transforms the world and how it influences other social phenomena has fuelled their work in this publication. In their first year of studies, students take the course Critical Cases in Ethnic and Migration Studies, led by Erik Berggren as course coordinator and Kenna Sim-Sarka. The course is designed for students to apply the theoretical knowledge and experiences gained throughout the first year’s courses to produce articles beyond an academic audience for the broader public. Each REMS report is based around a specific theme, with previous themes including migration and Covid-19, migration and Ukraine, and migration and democracy. The REMS report is one of the many ways in which we, as students, are trained to identify and analyse issues related to migration, integration, and diversity and to make research accessible to a wider audience. This year’s overarching theme is Migration and Culture, sparked by recent developments in Sweden’s and Norrköping’s politics of decreasing and cutting funds for cultural activities. Arts and culture are both areas of expression for migrant communities and people on the move, as well as those fighting against racism, discrimination, and exclusion. The current debate on “Swedish culture” and on a “Swedish cultural canon” recalls monolithic understandings of culture as a natural and immutable construct, contributing to the polarisation of views rather than the multiplication of perspectives and conceptions of it. Like culture, which can be visualised as a tapestry created from different threads, different contributions, woven together to form something complex, this report is also a collection of varied articles, united by a common theme. Some articles in this report look at the accessibility of culture in Sweden and its transmission through all kinds of mediums, such as TV programmes; others engage artists or “social artists” who care about issues like migration and the fight against racism and discrimination, and some focus on specific aspects of culture and arts, such as language, food, and music. The first-year students of EMS, 2024.
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