Academic literature on the topic 'Music I.C.T'

We examined two models that quantified the effects of tonality on accuracy and reaction time in an intervening-tone pitch-comparison task. In each of 16 task conditions (standard tone-interpolated sequence-test tone, abbreviated as S-seq-T), the S and T tones, C₄ and/or C#₄, were separated by a three-tone sequence that was a random arrangement of one of the four triads, ${\rm{C}}_{{\rm{4Major}}} ,{\rm{C}}_{{\rm{4Minor}}} ,{\rm{C\# }}_{\rm{4}} _{{\rm{Major}}} $ or ${\rm{C\# }}_{{\rm{4Minor}}} $ . Both models were based on the tonal hierarchy (Krumhansl, 1990a; Krumhansl & Shepard, 1979) and the key-finding algorithm (Krumhansl & Schmuckler, cited in Krumhansl, 1990a); the key- finding algorithm was used to determine the best-fitting key for the first four notes of the condition (i.e., the S-seq combination). Model 1 (S-Tone Stability) determined the stability of the S tone given that key. Model 2 (T-Tone Expectancy) determined the expectancy for the T tone given that key. Over the 16 conditions, for three groups of 12 subjects, differing by level of training, mean proportion correct discrimination ranged from .53 to .95 and increased significantly across levels of musical experience. For the musically trained subjects, both models predicted performance well but neither model was dramatically more effective than the other; the combination of both models did produce an increase in predictability. For untrained subjects, tonality, as assessed by the key-finding algorithm in either model, was not significantly correlated with performance.

The authors describe the scientific background and technical details of the visualization of the mathematics underlying genetic codes applied to musical scales. “Genetic Music” provides audible access to genetic structures that become visible based on the fundamental level of nature as permutations of space itself. The carriers of genetic information characteristically possess hydrogen bonds in quantities 2 and 3 in complementary pairs of nitrogenous bases [GACT] in DNA and [GACU] in RNA. Since hydrogen is observed to expose the symmetries of the Penrose Patterns, visual access is achieved by means of a 3D representation of Penrose kites and darts named “epitahedron.” Those pyramid-shaped polyhedra represent the numbers of hydrogen bonds (C=G=3, A=T=2) that generate musical equivalence between the genetic alphabet and the 7 notes of the Pythagorean scale, as well as further and distinct correlations with “Fibonacci stage” “Genetic Music” scales. The visualization must be played synchronously with the musical performance.

Listeners are sensitive to pitch distributional information in music (N. Oram & L. L. Cuddy, 1995; C. L. Krumhansl, J. Louhivuori, P.Toiviainen, T. Jäärvinen, & T. Eerola, 1999). However, it is uncertain whether frequency-based musical features are sufficient to explain the similarity judgments that underlie listeners' classification processes. A similarity rating experiment was designed to determine the effectiveness of these features in predicting listeners' similarity ratings. The material consisted of 15 melodies representing five folk music styles. A multiple regression analysis showed that the similarity of frequency-based musical properties could account for a moderate amount (40%%) of listeners' similarity ratings. A slightly better predictive rate (55%%) was achieved by using descriptive variables such as number of tones, rhythmic variability, and melodic predictability. The results suggest that both measures were able to capture some aspects of the structures that portray common salient dimensions to which listeners pay attention while categorizing melodies. Aikaisemmissa tutkimuksissa on osoitettu, ettää musiikin tilastollisilla tapahtumilla, kuten säävelten määäärillää ja tyypillisillää intervalleilla, on merkitystää, kun kuulijat muodostavat kääsityksiääään musiikin rakenteesta (N. Oram & L. L. Cuddy, 1995; C. L. Krumhansl, J. Louhivuori, P. Toiviainen, T. Jäärvinen, & T. Eerola, 1999). Nääiden piirteiden voidaan olettaa olevan täärkeitää myöös musiikin luokittelussa. Toistaiseksi ei kuitenkaan tiedetää, miten hyvin tilastollisilla piirteillää voitaisiin musiikin luokittelua selittääää. Täätää testattiin kuulijoille jäärjestetyn samanlaisuusarviointitehtäävään avulla. Tutkimuksen materiaali koostui 15 melodiasta, jotka edustivat viittää eri kansanmusiikkityyliää. Regressioanalyysi paljasti, ettää musiikin tilastollisten piirteiden samanlaisuus pystyi selittäämääään kohtuullisen määäärään (40%%) kuulijoiden antamista samanlaisuusarvioista. Hieman parempi selitysaste (55%%) saavutettiin kuvaavilla muuttujilla, joita olivat melodian laajuus ja ennakoitavuus sekää rytmin vaihtelevuus. Nääin ollen tulokset antavat aiheen olettaa, ettää musiikin tilastolliset piirteet ja kuvailevat muuttujat vaikuttavat kuulijoiden luokittelupäääätööksiin.

Na osnovi nekaterih v zadnjih dveh desetletjih objavljenih razprav o glasbenem interpretiranju (T. C. Mark, G. Tomlinson, P. Kivy, R. Scruton) so izpeljane in obrazložene tri teze: 1. Razlika med glasbo in neinterpretativnimi umetnostmi (literatura, slikarstvo itd.) ni tako velika, kot se navadno misli. Interpretiranje je umetnosti neodtujljivo in razloček med literaturo in drugimi neinterpretativnimi umetnostmi na eni strani in glasbo na drugi je, da je ob literarnem delu bralec tudi svoj lastni interpret, medtem ko je v glasbi interpretacija zaupana profesionalnim izvajalcem. 2. Izvajalsko gibanje "zgodnje glasbe" je odkrilo izvajalske prakse in vzpostavilo standarde brez katerih si danes ni mogoče predstavljati interpretiranja glasbe izpred druge polovice 18. stol. A kot meni P. Kivy, iskanje avtentičnega pomena glasbenega dela ni zamenljivo z rekonstruiranjem domnevne historično avtentične izvedbe. Z ozirom na naravo glasbenega dela je njegov notranji smisel onstran njegove historične zvočne podobe. 3. T. C. Mark ugotavlja, da je izvedba intencionalni akt. Kot taka ni niti predvidljiva niti ponovljiva. Ob neodtujljivi inspiracijski svobodi pri interpretiranju umetnosti zgodovina izvedb danega dela ni nujno pot k pomenu, ki ga je videl skladatelj; enako lahko vodi tudi stran od skladateljeve resnice, v še neizkušena in neznana področja. Takšno gledanje ni združljivo s platonističnim pojmovanjem izvedb kot instanc, primerkov glasbenega dela, obstajajočega kot ideja.

The article’s purpose is to define the cognitive determination of musical thinking and musical self-concept of students and musicians, considering the cognitive style of the individual, analytical-holistic thinking, and individual psychological abilities. The study applies the diagnostic technique for the cognitive style of individuality (T. Dudnikova, O. Volkova), analysis-holism scale (Choi, Koo, and Choi), Cattell test (16PF - C), musical thinking questionnaire developed by authors (I. Mazur, T. Нrinchenko, O. Teplova, L. Onofrichuk, O. Priadko). The study presents the first approbation of the musical thinking questionnaire developed by the authors, the integral indicator of which is measured on the following scales: emotional response to music, emotional-intonational (melodic) ear, harmonic ear for music, perceptual ear for music, musical-rhythmic sense, musical memory, performing emotionality, musical-creative imagination – insight into the essence of the musical image, musical-creative imagination – interpretation of the musical image, sense of the whole – sense of tempo-rhythm, sense of the whole – a sense of shape, sense of the whole – sense of style, sense of the whole – the sense of the logical development of the piece of music, cognitive activity, self-regulation, ability to work. The authors empirically determine that the musical thinking of students is based on advanced abilities in terms of the sense of the whole – the sense of shape, emotional response to music, and the sense of the logical development of the piece of music. Dominants in musicians’ musical thinking are the emotional response to music, musical-creative imagination – insight into the essence of the musical image, and high cognitive activity.

Narcissus L. `Music Hall', N. `Tahiti', Tulipa L. `Couleur Cardinal', and T. `White Emperor' bulbs were precooled at 5 °C for 0 or 5 weeks and planted 15, 30, or 45 cm deep (from bulb base) into raised ground beds under 0%, 30%, or 60% shade. Plant growth was monitored for two consecutive years after planting. Precooling reduced the percentage of T. `White Emperor' that flowered but did not affect flowering percentage of the other cultivars. Precooling delayed anthesis in one or both years for all cultivars. The greatest percentage of bulbs flowered when planted 15 cm deep and the 45-cm planting depth reduced flowering percentage. Increasing planting depth delayed anthesis for all cultivars. Increasing shade increased stem lengths in one or both years for all cultivars, but did not influence flowering percentage. Perennialization was low for all cultivars regardless of treatment. Cultivar differences in perennialization occurred; in year 2 up to 30% of N. `Tahiti' bulbs flowered vs. 32% for `Music Hall' and up to 30% of T. `White Emperor' bulbs flowered vs. only 22% of `Couleur Cardinal'.

Purpose: The goals of this study were (1) to investigate the reliability of a clinical music perception test, Appreciation of Music in Cochlear Implantees (AMICI), and (2) examine associations between the perception of music and speech. AMICI was developed as a clinical instrument for assessing music perception in persons with cochlear implants (CIs). The test consists of four subtests: (1) music versus environmental noise discrimination, (2) musical instrument identification (closed-set), (3) musical style identification (closed-set), and (4) identification of musical pieces (open-set). To be clinically useful, it is crucial for AMICI to demonstrate high test-retest reliability, so that CI users can be assessed and retested after changes in maps or programming strategies. Research Design: Thirteen CI subjects were tested with AMICI for the initial visit and retested again 10–14 days later. Two speech perception tests (consonant-nucleus-consonant [CNC] and Bamford-Kowal-Bench Speech-in-Noise [BKB-SIN]) were also administered. Data Analysis: Test-retest reliability and equivalence of the test's three forms were analyzed using paired t-tests and correlation coefficients, respectively. Correlation analysis was also conducted between results from the music and speech perception tests. Results: Results showed no significant difference between test and retest (p > 0.05) with adequate power (0.9) as well as high correlations between the three forms (Forms A and B, r = 0.91; Forms A and C, r = 0.91; Forms B and C, r = 0.95). Correlation analysis showed high correlation between AMICI and BKB-SIN (r = −0.71), and moderate correlation between AMICI and CNC (r = 0.4). Conclusions: The study showed AMICI is highly reliable for assessing musical perception in CI users.

Many studies have shown a link between being competent in early mathematics and achievement in school. Early math skills have the potential to be the best predictors of later performance in reading and mathematics. Movement and songs are activities that children like, making it easier for teachers to apply mathematical concepts through this method. This study aims to develop audio-visual learning media in the form of songs with a mixture of western and traditional musical idioms, accompanied by movements that represent some of the teaching of early mathematics concepts. The stages of developing the ADDIE model are the basis for launching new learning media products related to math and art, and also planting the nation's cultural arts from an early age. These instructional media products were analyzed by experts and tested for their effectiveness through experiments on five children aged 3-4 years. The qualitative data were analyzed using transcripts of field notes and observations and interpreted in a descriptive narrative. The quantitative data were analyzed using gain score statistics. The results showed that there was a significant increase in value for early mathematical understanding of the concepts of geometry, numbers and measurement through this learning medium. The results of the effectiveness test become the final basis of reference for revision and complement the shortcomings of this learning medium. Further research can be carried out to develop other mathematical concepts through motion and song learning media, and to create experiments with a wider sample. Keywords: Early Mathematical Skills, Movement and Song Idiom Traditional, Audio-visual Learning Media References An, S. A., & Tillman, D. A. (2015). Music activities as a meaningful context for teaching elementary students mathematics: a quasi-experiment time series design with random assigned control group. 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The Effect of Music Intervention on Attention in Children: Experimental Evidence. Frontiers in Neuroscience, 14(July), 1–15. https://doi.org/10.3389/fnins.2020.00757 Kołodziejski, M., Králová, P. D. E., & Hudáková, P. D. J. (2014). Music and Movement Activities and Their Impact on Musicality and Healthy Development of a Child. Journal of Educational Revies, 7(4). Kristanto, W. (2020). Javanese Traditional Songs for Early Childhood Character Education. 14(1), 169–184. Litkowski, E. C., Duncan, R. J., Logan, J. A. R., & Purpura, D. J. (2020). When do preschoolers learn specific mathematics skills? Mapping the development of early numeracy knowledge. Journal of Experimental Child Psychology, 195, 104846. https://doi.org/10.1016/j.jecp.2020.104846 Logvinova, O. K. (2016). Socio-pedagogical approach to multicultural education at preschool. Procedia - Social and Behavioral Sciences, 233(May), 206–210. https://doi.org/10.1016/j.sbspro.2016.10.203 Lopintsova, O., Paloniemi, K., & Wahlroos, K. (2012). Multicultural Education through Expressive Methods in Early Childhood Education. Ludwig, M. ., Marklein, M. ., & Song, M. (2016). Arts Integration: A Promising Approach to Improving Early Learning. American Institutes for Research. Macdonald, A., & Lowrie, T. (2011). Developing measurement concepts within context : Children ’ s representations of length. 27–42. https://doi.org/10.1007/s13394-011-0002-7 Mans, M. (2002). Playing The Music- Comparing Perfomance of Children’s Song and dance in Traditional and Contemporary Namibian Education. In The Arts in Children’s Live (pp. 71–86). Kluwer Academic Publishers. Maričić, S. M., & Stamatović, J. D. (2017). The Effect of Preschool Mathematics Education in Development of Geometry Concepts in Children. 8223(9), 6175–6187. https://doi.org/10.12973/eurasia.2017.01057a Missall, K., Hojnoski, R. L., Caskie, G. I. L., & Repasky, P. (2015). Home Numeracy Environments of Preschoolers: Examining Relations Among Mathematical Activities, Parent Mathematical Beliefs, and Early Mathematical Skills. Early Education and Development, 26(3), 356–376. https://doi.org/10.1080/10409289.2015.968243 Moreno, S., Bialystok, E., Barac, R., Schellenberg, E. G., Cepeda, N. J., & Chau, T. (2011). Short-term music training enhances verbal intelligence and executive function. Psychological Science, 22(11), 1425–1433. https://doi.org/10.1177/0956797611416999 Nketia, J. H. K. (1982). Developing Contemporary Idioms out of Traditional Music. Studia Musicologica Academiae Scientiarum Hungaricae, 24, 81. https://doi.org/10.2307/902027 Nyota, S., & Mapara, J. (2008). Shona Traditional Children ’ s Games and Play : Songs as Indigenous Ways of Knowing. English, 2(4), 189–203. Östergren, R., & Träff, U. (2013). Early number knowledge and cognitive ability affect early arithmetic ability. 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The author of the article presents three different trajectories in the development of Wittgenstein's philosophical thinking about musical depth and knowledge about humanity. The author presents the philosophical views of J. G. herder, W. G. Wackenroder, E. T. A. Hoffmann, A. Schopenhauer, O. Spengler, G. Schenker, and C. Taylor on the interpenetration of the question of language and mind, on the romantic philosophical depth of music as the quintessence of the romantic challenge of metaphors of depth, the truth of nature, and the sensual world. In revealing the essential potential of musical language, we formulate succinct and precise theses that confirm the essential nature of music, which, according to Schopenhauer, is the "inner nature" of human emotion, or the "secret history" of human will. The article provides an in-depth analysis of theoretical and methodological approaches of foreign philosophers to the essence of musical language, in which music differs from language and visual ways of expression by its ability to influence the spiritual world of a person with a special force. The article formulates theoretical theses about the values of music, which lies in its unique relationship with the phenomenological dynamics of human emotions, feelings and moods, with a kind of "feeling" of the degree of their impact, surge, increase and decrease. According to the author, a full-fledged philosophy of music is characterized by an uncanny correspondence between the inner space of music and the inner space of the listening subject.

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Aspectos t?cnico-interpretativos no Quarteto de Cordas N? 2 de Guerra-Peixe vai abordar essa obra de um compositor, considerado um dos grandes expoentes da m?sica brasileira do s?culo XX, que desenvolveu v?rias vertentes em sua carreira, como music?logo, int?rprete, compositor, arranjador de r?dio e cinema, entre outras. Nesse trabalho, procuraremos visualizar na obra em quest?o seus estilos composicionais, apontando fontes que ele tenha bebido e oferecendo os elementos que subsidiar?o escolhas t?cnico-interpretativas para os futuros int?rpretes dessa obra. Com esse fim, foi realizada umaan?lise fonogr?fica comparativa entre grava??es de importantes quartetos brasileiros, entrevistas com m?sicos de relev?ncia no cen?rio nacional e experimenta??es em ensaios e recitais, sempre fazendo uma ponte do Quartetocom outras obras do compositor. Concomitantemente, foi realizada an?lise musicogr?fica entre edi??es manuscritas pelo pr?prio compositor, culminando com uma pr?pria edi??o revista.
Technical and interpretative aspects of the String Quartet No. 2 Guerra-Peixe will approach this work of a composer who is considered one of the greatest exponents of Brazilian music of the twentieth century, who developed several strands in his career as a musicologist, performer, composer, arranger radio and cinema, among others. In this work, we will see in the work in question their compositional styles, pointing sources that he has been drinking and offering elements that will subsidize technical and interpretive choices for future interpreters. After the historical context and esthetics, we will make some brief remarks about the terms performance and interpretation, to support the objective of the work, which will be the interpretation of the work. For that purpose, a comparative analysis was performed between recording of important Brazilian quartets, interviews with relevant players on the national scene and trials in rehearsals and recitals, always making a Quartet bridge with other works by the composer. Concomitantly, it was held analysis of handwritten edits by the composer, culminating with its own revised edition.

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Essa disserta??o apresenta uma investiga??o do processo evolutivo das t?cnicas estendidas do obo?, atrav?s de uma analise da literatura e de pesquisa em pr?tica. O intuito deste trabalho ? facilitar a aprendizagem dos obo?stas interessados em estudar essas t?cnicas. Al?m disso, atrav?s da experimenta??o, o aluno ? encorajada ? explorar as perguntas subsequentes sobre a est?tica do som, o conceito de gesto como elemento visual e sonoro adicional, e os processos de colabora??o e cria??o em ?tempo real?. No decorrer do trabalho, s?o discutidas a rela??o entre o instrumento (o obo?) e as t?cnicas estendidas, e duas defini??es poss?veis de t?cnicas estendidas, oferecidas por Luk Vaes (2009) e Gardner Read (1993). S?o abordados a forma e o motivo pelos quais alguns compositores t?m utilizado t?cnicas estendidas em suas obras, incluindo breves discuss?es sobre t?cnicas estendidas na composi??o em tempo real (improvisa??o), t?cnicas estendidas e recursos tecnol?gicas, gesto c?nico como t?cnica estendida e sugest?es para o m?sico querendo abordar gestos c?nicos na performance. Quatro pe?as foram analisadas: ?I Know This Room So Well? ? Lisa Bielawa (2007-9); ?Four Pieces for Oboe and Piano? ? Ernst Krenek (1966); ?In Freundschaft? ? Karlheinz Stockhausen (1978); ?Atem? ? Mauricio Kagel (1969-70) e foram investigadas as dificuldades e solu??es associadas a cada t?cnica estendida encontrada nas pe?as. As seguintes fontes sobre t?cnicas estendidas foram utilizadas como base de pesquisa: livros - Heinz Holliger?s Pro Musica Nova (1972); Gardner Read?s Compendium of Modern Instrumental Techniques (1993); Peter Veale & ClausSteffen Mahnkopf?s The Techniques of Oboe Playing (1994); e Libby Van Cleve?s Oboe Unbound: Contemporary Techniques (2004); e artigos Nora Post?s ?Monophonic sound resources for the oboe: Part I ? Timbre? (1984), ?Part II- Pitch and other techniques? (1984), and ?Multiphonics for the oboe? (1982).
This dissertation presents an investigation of the evolutionary process of extended oboe techniques, through literary analysis and practical research. The objective of this work is to provide assistance to oboists interested in learning these techniques. Additionally, this work encourages the student, through the process of experimentation, to explore the questions that may arise around the aesthetics of sound, the concept of gesture as an additional visual and aural element in music, and the collaboration and ?real-time? creation processes. Discussed within the work, are the relationship between the instrument (the oboe) and extended techniques, and two possible definitions of extended techniques, provided by Luk Vaes (2009) and Gardner Read (1993). Also explored are the how and why some composers have utilized extended techniques in their compositions, including brief discussions relating to extended techniques in real-time composition (improvisation), extended techniques and technological resources, theatrical gesture as an extended technique, and suggestions of how musicians might approach theatrical gestures in performance. Four works were visited: ?I Know This Room So Well? ? Lisa Bielawa (2007-9); ?Four Pieces for Oboe and Piano? ? Ernst Krenek (1966); ?In Freundschaft? ? Karlheinz Stockhausen (1978); ?Atem? ? Mauricio Kagel (1969-70); and an exploration of the difficulties and solutions associated with each extended technique found within these pieces, was carried out. The following founding works on extended oboe techniques were used, as a basis for research: books - Heinz Holliger?s Pro Musica Nova (1972); Gardner Read?s Compendium of Modern Instrumental Techniques (1993); Peter Veale & Claus-Steffen Mahnkopf?s The Techniques of Oboe Playing (1994); and Libby Van Cleve?s Oboe Unbound: Contemporary Techniques (2004); and articles - Nora Post?s ?Monophonic sound resources for the oboe: Part I ? Timbre? (1984), ?Part II- Pitch and other techniques? (1984), and ?Multiphonics for the oboe? (1982).

This study investigates and documents tenor/bass trombone solo performances at the Gewandhaus, Leipzig, East Germany, between 1821 and 1876. Included is the discussion of a newly discovered composition, the Concertino fur Bassposaune und Orchester, by Carl Heinrlch Meyer, which is the earliest concerto for the tenor/bass trombone. Its performance at the Gewandhaus in 1821 marked the beginning of the solo tradition for the tenor/bass trombone, and the Leipzig Gewandhaus became one of the leading centers of solo trombone performance for the next fifty years. The study includes background information on the rise of the virtuoso soloist in nineteenth-century Germany. It specifically focuses on Friedrlch August Belcke and Carl Traugott Queisser and their performances at the Gewandhaus. All solo trombone performances at the Gewandhaus in the nineteenth century have been documented, and specific information has been provided regarding the soloists, dates of performances and repertoire performed on the concerts. The paper includes a discussion of performance reviews from the Allgemeine Musfkalische Zeitung. The conclusion discusses the importance of solo trombone performance at the Gewandhaus, and the reason for its sudden decline after 1876.

A deterministic change to a time-varying queueing model is described as either changing the number of entities, the queue capacity, or the number of servers in the system at selected times. We use a surrogate distribution for N(t), the number of entities in the system at time t, to approximate deterministic changes to the Ph(t)/Ph(t)/1/c and the Ph(t)/M(t)/s/c queueing models. We develop a solution technique to minimize the number of state probabilities to be approximated.
Master of Science

Mythic is an animated family series that will collide the worlds of the beloved Disney style musical feature, with everyday children’s programming. Based on 8 public domain works by Hans Christian Andersen, the series will follow Princess Viv, Farmhand Penelope, Pit-Pocket Leina, and a hopelessly romantic Prince Agner, as they travel through magical kingdoms in hopes of retrieving 8 mythical relics. Together, the four will learn about the meaning of love, the danger of greed, and the joy of being selfless as they fight to keep Leina from becoming a true villain.

Time-dependent queueing models are important since most of real-life problems are time-dependent. We develop a numerical approximation algorithm for the mean, variance and higher-order moments of the number of entities in the system at time t for the Ph(t)/Ph(t)/s/c queueing model. This model can be thought as a reparameterization to the G(t)/GI(t)/s. Our approach is to partition the state space into known and identifiable structures, such as the M(t)/M(t)/s/c or M(t)/M(t)/1 queueing models. We then use the Polya-Eggenberger distribution to approximate certain unknown probabilities via a two-moment matching algorithm. We describe the necessary steps to validate the approximation and measure the accuracy of the model.
Master of Science