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Herrera Torres, Lucía, and Clara Campoy Barreiro. "Ansiedad escénica musical en profesorado de conservatorio: frecuencia y análisis por género." Revista de Psicología y Educación - Journal of Psychology and Education 15, no. 1 (2020): 32. http://dx.doi.org/10.23923/rpye2020.01.184.
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IŞIKHAN, Cihan. "MIDI DÖNÜŞTÜRÜCÜ YAZILIMLARIN BAŞARI KARŞILAŞTIRMASI VE MATLAB’DA MÜZİK ANALİZİ." Akademik Müzik Araştırmaları Dergisi 4, no. 8 (June 5, 2018): 1–11. http://dx.doi.org/10.5578/amrj.67094.
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Markosian, Ned. "Sideways music." Analysis 80, no. 1 (August 3, 2019): 51–59. http://dx.doi.org/10.1093/analys/anz039.
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Abstract There is a popular theory in the metaphysics of time according to which time is one of four similar dimensions that make up a single manifold that is appropriately called spacetime. One consequence of this thesis is that changing an object’s orientation in the manifold does not change its intrinsic features. In this paper I offer a new argument against this popular theory. I claim that an especially good performance of a particularly beautiful piece of music, when oriented within the manifold in the normal way, adds to the intrinsic value of the world, but that if the same performance is turned sideways within the manifold, so that it involves a number of different notes spread out in space and all occurring at the same time, then it does not add the same intrinsic value to the world.
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Sejati, Irfanda Rizki Harmono, Tejo Bagus Sunaryo, and Sunarto Sunarto. "Seni Pertunjukan dan Kreativitas Kelompok Musik Setabuhan Yogyakarta Indonesia." Resital: Jurnal Seni Pertunjukan 23, no. 2 (August 1, 2022): 107–16. http://dx.doi.org/10.24821/resital.v23i2.7083.
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ABSTRACT Setabuhan is a musical group consisting of three people who have different musical concepts from the others. The form of Setabuhan group music is rhythmic or percussion music in which two people are percussionists, and the other plays the exploration of vocal sound. The musical instruments used by Setabuhan are drums, percussion and vocal music using digital effects. The form of music used by this Setabuhan music group is not commonly used in structural forms of musical compositions because it does not use melodic musical instruments, and the vocal music does not have lyrics. The form of the Setabuhan group performance is a collaboration of rhythmic music with the arts of Pencak Silat, or martial arts. The rhythm and tempo of the beats tend to be loud with a fast rhythmic game. This group becomes very interesting and has particular characteristics because not many musical groups have the same concept as Setabuhan . The Setabuhan music group is not well known in Indonesia but has performed many performances in various other countries. The focus of the research on the Setabuhan music group is: 1) The form of Setabuhan music performances; and 2) The creativity of the Setabuhan music group. The research method used in this research is qualitative with descriptive exposure. The research subjects were musicians of the Setabuhan music group in Yogyakarta. Data collection techniques were observation, interviews, documentation, and data analysis. The results show that the form and creativity of the Setabuhan music group lie in the rhythmic drum and percussion music playing, which is filled with exploration of vocal sounds with musical effects and collaboration with the art of Pencak Silat. The conclusion of this research is the form and creativity process of the Setabuhan music group, which is very interesting and has the characteristics of its work and form of performance.ABSTRAK Setabuhan merupakan kelompok musik yang terdiri dari tiga orang yang mempunyai konsep musik yang berbeda dari yang lain. Bentuk musik kelompok Setabuhan adalah musik ritmis atau disebut dengan musik perkusi. Dua orang sebagai pemain perkusi dan satu orang memainkan eksplorasi bunyi vokal. Alat musik yang digunakan Setabuhan menggunakan drum, perkusi dan satu musik vokal yang menggunakan efek digital. Bentuk musik yang digunakan kelompok musik Setabuhan ini tidak lazim digunakan pada bentuk struktural komposisi musik pada umunya karena tidak menggunakan alat musik musik melodis dan bentuk musik vokal nya juga tidak berlirik. Bentuk pertunjukan kelompok Setabuhan adalah kolaborasi musik ritmis dengan seni pencak silat atau bela diri. Irama dan tempo musik Setabuhan cenderung keras dengan permainan ritmis yang cepat. Kelompok ini menjadi sangat menarik dan mempunyai ciri khas karena belum banyak kelompok musik yang mempunyai konsep yang sama dengan Setabuhan. Kelompok musik Setabuhan memang belum begitu dikenal di Indonesia tetapi sudah banyak melakukan pertunjukan di berbagai negara lain. Fokus dari penelitian pada kelompok musik Setabuhan adalah: 1) Bentuk pertunjukan musik Setabuhan; dan 2) Kreativitas kelompok musik Setabuhan. Metode penelitian yang digunakan dalam penelitian ini adalah kualitatif dengan paparan secara deskriptif. Subjek penelitian adalah musisi kelompok musik Setabuhan di Yogyakarta. Teknik pengumpulan data dengan observasi, wawancara, dokumentasi, dan analisis data. Hasil penelitian menunjukan bahwa bentuk dan kreativitas yang dilakukan kelompok musik Setabuhan terletak pada permainan musik ritmis drum dan perkusi yang di isi oleh eksplorasi bunyi vokal yang diberi efek musik dan berkolaborasi dengan seni pencak silat. Kesimpulan dari penelitian ini adalah bentuk dan proses kreativitas kelompok musik Setabuhan yang sangat menarik dan mempunyai ciri khas karya dan bentuk pertunjukannya.
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De Fretes, Daniel, and Nensi Listiowati. "Pertunjukan Musik dalam Perspektif Ekomusikologi." PROMUSIKA 8, no. 2 (May 7, 2021): 109–22. http://dx.doi.org/10.24821/promusika.v8i2.4636.
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Artikel ini bertujuan untuk menelaah pertunjukan musik dari perspektif ekomusikologi sebagai refleksi dari pergeseran pertunjukan yang terjadi selama masa pandemi covid 19. Tatanan baru di era pandemi mengubah kodrat pertunjukan dari alam nyata ke jagat maya. Ekomusikologi adalah persinggungan diantara kajian musik dan kajian ekologi yang mengelaborasi bidang kajian musik, budaya, dan lingkungan secara multiperspektif. Studi kasus dalam kajian ini adalah konser serenade bunga bangsa di Auditorium Driyarkara Yogyakarta. Penelitian ini menggunakan kerangka analisis ekomusikologi pertunjukan musik yang dirumuskan Bolye & Waterman yaitu faktor-faktor yang mendasari gestur sonik. Hasil penelitian menunjukkan adanya hubungan interdependen diantara setiap komponen pertunjukkan. Perubahan lanskap pertunjukan yang terjadi adalah konsekuensi dari sifat alamiah sistem jejaring yaitu dinamika non-linear, kemunculan spontan dan siklus umpan-balik. Kesadaran ekologi mendorong umat manusia sebagai bagian dari alam semesta untuk menyelami dan beradaptasi terhadap berbagai perubahan. Ini dapat dicapai melalui kolaborasi secara kooperatif, kreatif, dan inovatif diantara komunitas-komunitas dalam jejaring pertunjukan musik guna merawat budaya musik yang berkelanjutan.AbstractThis article aims to examine musical performances from an ecomusicological perspective as a reflection of the shifts in performances that occurred during the Covid 19 pandemic. The new order in the pandemic era has changed the nature of performances from the real world to the virtual world. Ecomusicology is an intersection between music studies and ecological studies that elaborates the fields of music, culture, and environment studies in a multi-perspective. The case study in this study is Konser Serenade Bunga Bangsa at the Driyarkara Auditorium, Yogyakarta. This study uses a musical performance ecomusicological analysis framework formulated by Bolye & Waterman, namely the factors that underlie sonic gestures. The results showed that there was an interdependent relationship between each performance component. Changes in the performance landscape that occur are a consequence of the nature of the network system, namely non-linear dynamics, spontaneous emergence and feedback cycles. Ecological awareness encourages humankind as part of the universe to explore and adapt to various changes. This can be achieved through cooperative, creative, and innovative collaboration among communities in music performance networks to nurture a sustainable musical culture.Keywords: ecomusicology; musical performance; environment; interdependent
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Feige, Daniel Martin. "Jazz als künstlerische Musik." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 59. Heft 1 59, no. 1 (2014): 29–47. http://dx.doi.org/10.28937/1000106235.
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Der Text gilt einer Klärung der spezifischen Qualität des Jazz als künstlerischer Musik. Eine solche Qualität wird im Rahmen einer Analyse dreier wesentlicher Dimensionen dieser Musik vorgenommen, die zwar keineswegs als disjunktiv notwendige und konjunktiv hinreichende Dimensionen des Jazz im Sinne einer Definition profiliert werden, gleichwohl aber als für seine Wertschätzung zentrale Dimensionen diskutiert werden: Improvisation, Interaktion und Intension. Die Logik der Improvisation im Jazz wird kontrastiv zur Logik des Spielens eines musikalischen Werks in der europäischen Tradition künstlerischer Musik erläutert. Zugleich wird geltend gemacht, dass selbst dieses Spielen von Werken in gewisser Weise noch von der ausgewiesenen Logik der Improvisation bestimmt ist. Interaktion wird so spezifiziert, dass Jazz wesentlich als eine Form eines dialogischen Antwortgeschehens im Medium der Musik verstanden werden muss. Intensität schließlich meint die vor allem, aber keineswegs ausschließlich anhand der rhythmischen Dimension ausweisbare Fokussierung des Jazz auf jeden einzelnen Zug und jedes einzelne Moment seiner Darbietung. Der Jazz erweist sich dabei mit Blick auf seine philosophische Relevanz als eine künstlerische Musik, die wesentliche Aspekte künstlerischer Praxis überhaupt explizit macht.<br><br>The aim of the paper is an analysis of the specific quality of jazz as a kind of artistic music. Three dimensions are brought forward as central for jazz music: improvisation, interaction and intensity. Even though these dimensions are not understood in terms of a definition – as solely necessary and jointly sufficient conditions –, they are meant to be central qualities in our appreciation of jazz music. The logics of improvisation are explored in contrast to the practice of performing a composed work in the European tradition of art music. Despite this difference the thought is articulated that the performance of a composed work is in some way governed by a similar logic. Interaction is specified in terms of jazz being fundamentally a kind of dialogical practice in the medium of music. Intensity finally is spelled out as a certain focus of jazz music toward every single moment of its performance that is mainly but not solely due to its specific rhythmic dimension. Jazz music proves to be a kind of artistic music that renders aspects of artistic practice in general explicit.
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Lee, Kwan-Pyo. "Service quality evaluation of Jecheon International Music & Film Festival using IPA." Journal of Hospitality and Tourism Studies 79 (June 30, 2019): 226–40. http://dx.doi.org/10.31667/jhts.2019.6.79.226.
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Nurina, Lidya, Edlin Yanuar Nugraheni, and M. Budi Zakia Sani. "Eksistensi Musik Perkusi Cha Catuk Percussion di Kota Banjarmasin." Pelataran Seni 5, no. 2 (September 9, 2020): 111. http://dx.doi.org/10.20527/jps.v5i2.9127.
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Intisari Tulisan ini mengkaji topik tentang eksistensi kelompok musik perkusi Cha Catuk Percussion di Banjarmasin. Kajian atau penelitian ini menggunakan pendekatan deskriptif-kualitatif. Adapun teknik pengumpulan data yang digunakan adalah triangu-lasi, yang meliputi wawancara, observasi, dan analisis dokumen. Berdasarkan hasil kajian, dapat diketahui bahwa eksistensi musik perkusi dari kelompok Cha Catuk Percussion di Kota Banjarmasin cukup bernilai. Sejak beraktivitas di tahun 2010 hingga 2019, hampir satu dekade mereka memberi kontribusi bagi dunia per-tunjukan musik di masyarakat Kota Banjarmasin, bahkan lingkup Kalimantan Selatan. Ragam segmen acara dan bentuk kegiatan yang mereka ikuti menunjukkan kelompok Cha Catuk Percussion dapat diterima oleh publik Kota Banjarmasin, khususnya publik pertunjukan.Kata kunci: cha catuk percussion, musik perkusi, banjarmasin Abstract This paper examines the topic of the existence of the Cha Catuk Percussion music group in Banjarmasin. This study or research uses a descriptive-qualitative approach. The data collection technique used is triangulation, which includes interviews, observations, and document analysis. Based on the results of the study, it can be seen that the existence of percussion music from the Cha Catuk Percussion group in Banjarmasin is quite valuable. Since their activities in 2010 to 2019, almost a decade they have contributed to the world of musical performances in the people of Banjarmasin City, even in the scope of South Kalimantan. The various segments of the event and the forms of activities they participated in showed that the Cha Catuk Percussion group could be accepted by the Banjarmasin City public, especially the performance public.Keywords: cha catuk percussion, percussion music, Banjarmasin
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Anderiani, Lupi. "Musik Panting di Desa Barikin Kalimantan Selatan: Kemunculan, Keberadaan dan Perubahannya." Resital: Jurnal Seni Pertunjukan 17, no. 3 (December 15, 2016): 140–57. http://dx.doi.org/10.24821/resital.v17i3.2229.
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Panting is a musical practice of South Kalimantan, Indonesia. The term "Panting" itself either the name of a plucked-lute instrument and of a musical ensemble. Such ensemble emerged ca the 1980s among the Barikin people of South Kalimantan. This study, using the ethnomusicological approach which is emphasized on fieldwork, is aimed to examine the emergence and change of Panting music. Based on the analysis, it appears that the emergence of Panting music is primarily caused by a creative act of its pioneer in response to the existing musical practices. The music is undergoing a number of changes in terms of the functions of music, performance, construction of panting instrument, and pattern of transmission. These changes are mainly due to the personal desire of the musicians as well as the allowances of surrounding cultural circumstances.Panting merupakan sebuah praktik musik yang berasal dari Kalimantan Selatan, Indonesia. Istilah “Panting” memiliki dua arti, yakni, pertama, sebagai nama sebuah instrumen berdawai yang dimainkan dengan cara dipetik; dan, kedua, nama dari sebuah ansambel musik. Musik Panting muncul sekitar tahun 1980-an. Penelitian ini menggunakan pendekatan etnomusikologis dengan menekankan pada kerja lapangan, bertujuan untuk menelaah kemunculan dan perubahan musik Panting. Berdasarkan analisis, terlihat bahwa musik Panting terutama muncul sebagai hasil laku kreatif seniman pelopornya dalam menanggapi praktik-praktik musik yang sudah ada. Dalam perjalanannya musik ini mengalami sejumlah perubahan, yakni dalam hal fungsi musik, bentuk penyajian, konstruksi instrumen, dan pola transmisi. Perubahan ini terutama disebabkan oleh keinginan personal para musisinya dan juga kondisi lingkungan kultural yang memungkinkan.
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Sani, Muhammad Budi Zakia. "MUSIK TRADISIONAL KURIDING DI DESA ULU BENTENG KECAMATAN MARABAHAN KABUPATEN BARITO KUALA: BENTUK DAN FUNGSI PERTUNJUKAN." Imaji 19, no. 2 (December 26, 2021): 183–97. http://dx.doi.org/10.21831/imaji.v19i2.44789.
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Penelitian ini bertujuan untuk mengetahui bagaimana sejarah lahir dan perkembangan Musik Tradisional Kuriding di Desa Ulu Benteng Kecamatan Marabahan Kabupaten Barito Kuala. Metode penelitian yang digunakan yaitu deskriptif kualitatif dengan instrumen yaitu peneliti, perekam suara, kamera dan video. Teknik pengumupulan data yang dilakukan adalah studi lapangan atau observasi, studi dokumentasi, dan wawancara. Analisis data menggunakan teknik deskriptif analisis dengan tahap pengumpulan data, klasifikasi, dan deskripsi data serta analisis data. Hasil penelitian menunjukan bahwa Syamsudin (Alm) adalah orang yang pertama kali memainkan atau sebagai maestro kuriding di desa tersebut, berdasarkan paparan oleh Iwie, kuriding pertama kali ia ketahui setelah ia menikah dengan Syamsuddin sekitar tahun 1930an. Perkembangan kuriding di desa Ulu Benteng tidak mengalami perkembangan. Kuriding mengalami kemunduran dan hanya ditemukan empat orang saja yang masih bisa memainkan Kuriding dengan fakta mereka tidak mampu membuat alat musik tersebut. Bentuk musik kuriding ini adalah pertunjukan yang dilakukan secara perorangan atau kelompok. Fungsi musik yang terdapat dalam musik kuriding diantara adalah sebagai sarana hiburan pribadi, sebagai sarana presentasi estetis, dan juga sebagai sarana pengikat solidaritas masyarakat.Kata Kunci : Kuriding, Musik Tradisional, Bentuk dan Fungsi PertunjukanKURIDING TRADITIONAL MUSIC IN ULU BENTENG VILLAGE, MARABAHAN DISTRICT, BARITO KUALA REGENCY: FORM AND FUNCTION OF PERFORMANCE Abstract The purpose of this study is to trace the history of Kuriding Traditional Music in Ulu Benteng Village, Marabahan District, Barito Kuala Regency. The method of study involves descriptive qualitative instruments, such as researchers, voice recorders, cameras, and videos. Field studies or observations, documentation studies, and interviews were all utilized to obtain data. Data analysis employs descriptive analytic techniques during the data collection, classification, and description stages of data collecting and analysis. The findings indicated that Syamsudin (Alm) was the first individual in the village to play or serve as a maestro of kuriding. According to Iwie, the first kuriding was known following her marriage to Syamsuddin in the 1930s. Kuriding's development in Ulu Benteng village remained stagnant. Kuriding suffered a setback when they discovered just four persons who could still play Kuriding due to their inability to manufacture the instrument. This style of kuriding music can be played solo or in groups. Kuriding music serves a variety of goals, including personal entertainment, aesthetic presentation, and community solidarity. Keywords: Kuriding, Traditional Music, Form and Functions of Performance
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Sun, Bo. "Emotional Analysis and Personalized Recommendation Analysis in Music Performance." Scientific Programming 2022 (April 23, 2022): 1–9. http://dx.doi.org/10.1155/2022/9548486.
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Music performance belongs to music recreation activities, is through singing, musical instrument performance, and vocal conductor, including a variety of artistic means, to convey music to the audience with real sound effects that can be felt, and can play its social function. Emotional state is a part of the whole attitude, which is consistent with introverted feelings and intentions in attitude, and is a complex and stable physiological evaluation and experience of attitude in physiology. This paper first introduces the concepts of music performance from the perspective of music appreciation and music ability. Then based on the emotional feature learning of matrix factorization constrained nonnegative matrix factorization and model optimization algorithm are used to analyze the emotional aspects of music. Finally, through the experimental comparison of the difficulty of emotion in various artistic creations, a conclusion is drawn. The research involves matrix decomposition, mathematical modeling, model optimization, digital audio technology application, and other fields. In the third part of this paper, the constrained nonnegative matrix factorization, the constrained nonnegative matrix factorization with external information, and the model optimization algorithm are used to study the mathematical modeling.
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Platz, Friedrich, and Reinhard Kopiez. "When the Eye Listens: A Meta-analysis of How Audio-visual Presentation Enhances the Appreciation of Music Performance." Music Perception 30, no. 1 (September 1, 2012): 71–83. http://dx.doi.org/10.1525/mp.2012.30.1.71.
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the visual component of music performance as experienced in a live concert is of central importance for the appreciation of music performance. However, up until now the influence of the visual component on the evaluation of music performance has remained unquantified in terms of effect size estimations. Based on a meta-analysis of 15 aggregated studies on audio-visual music perception (total N = 1,298), we calculated the average effect size of the visual component in music performance appreciation by subtracting ratings for the audio-only condition from those for the audio-visual condition. The outcome focus was on evaluation ratings such as liking, expressiveness, or overall quality of musical performances. For the first time, this study reveals an average medium effect size of 0.51 standard deviations — Cohen's d; 95% CI (0.42, 0.59) — for the visual component. Consequences for models of intermodal music perception and experimental planning are addressed.
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Kruglova, Elena. ""Ancient music – Historical singing" ("Alte Musick – Historischer Gesang") in German Music Universities." Философия и культура, no. 2 (February 2023): 12–26. http://dx.doi.org/10.7256/2454-0757.2023.2.39688.
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The article is devoted to the actual problem of historically grounded performance of Baroque vocal music by academic vocalists. Listening activity, the demand for ancient music in Russia raises issues for performers that need to be resolved within the framework of historical performance practice. To fulfill all the conditions, it becomes important to receive an appropriate specialized education. In Russia, little attention is paid to the professional training of academic vocalists in the field of historical singing or baroque singing, whereas in Italy and Germany independent faculties of ancient music are intensively working, including, along with instrumentalists, the training of singers. The author reveals the features of the content and organization of the educational process in universities in Germany and Russia. The purpose of this article is to identify possible ways to form a solo academic singer of historical specialization. The methodological basis of the work consists of historical, analytical methods that reveal the topic from various angles. Using the example of a number of educational institutions that train specialists in the field of historical singing, such as the University of the Arts Bremen, the University of Music and Theatre “Felix Mendelssohn Bartholdy” Leipzig, the Cologne University of Music and the Nuremberg University of Music, the article presents a comparative analysis of curricula, examines the studied disciplines within various modules. The conclusion is made about the prospects of using the experience of foreign countries in the training of specialists in the field of baroque singing.
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Triyanuartha, I. Nyoman. "Eksistensi Gula Gending di dalam Dinamika Budaya Lombok." Journal of Urban Society's Arts 2, no. 2 (October 10, 2015): 80–88. http://dx.doi.org/10.24821/jousa.v2i2.1445.
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Penelitian ini bertujuan untuk mengungkap eksistensi gula gending di dalam dinamika budaya yang terjadi di Lombok. Gula gending merupakan sebuah pertunjukan musik yang dimainkan ketika pedagang harum manis mepromosikan barang dagangannya untuk menarik perhatian calon pembeli. Seiring dengan perjalanan waktu, pertunjukan musik ini menjadi langka dan jarang ditemukan di dalam masyarakat. Kini gula gending muncul kembali dengan beberapa perkembangan yang menyertainya. Analisis dilakukan terhadap fakta musikal yang meliputi dimensi sonorik, dimensi visual dan dimensi kinestetik. Untuk membahas mengenai penyebab dan hasil dari perkembangan akan digunakan konsep music and cutural dynamic. This research aims to gasp the exsistence of gula gending in cultural dynamic which occurs in Lombok. Gula gending was a music performance played when the arbanat seller was promoting their goods to attract the customers’ attention. As the time goes by, this music performance becomes rare, so we seldom find its existence in society. In spite of the fact, nowdays gula gending reappears along with few following developments. An analysis has been done to the musical facts which may include among athers are sonoric dimention, visual dimention, and kinesthetic dimention. To gain the explanation about the causes and results of the development, music and cultural dynamic concepts are conducted.
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Sogin, David W. "Effects of Three Different Musical Styles of Background Music on Coding by College-Age Students." Perceptual and Motor Skills 67, no. 1 (August 1988): 275–80. http://dx.doi.org/10.2466/pms.1988.67.1.275.
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This study examined the effects of different styles of background music on task performances of college students. In addition, students' perceptions of the music and the effect these perceptions had on performance were investigated. 96 undergraduate nonmusic majors were randomly assigned to one of four experimental groups: task only, task and classical background music, task and jazz background music, and task and popular background music. The performance task consisted of 220 eye/hand coordination problems, and a questionnaire was subsequently administered to the task plus background music groups to assess perception of the background environment. Analysis indicated that the experimental conditions had no significant effect on task performance.
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Ma, Jiajia. "Emotional Expression and Analysis in Music Performance Based on Edge Computing." Mobile Information Systems 2022 (September 5, 2022): 1–12. http://dx.doi.org/10.1155/2022/4856977.
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The expression of emotion in music performance is the soul of music, and the emotion revealed by the performer during the performance can bring emotional resonance to the audience. The emotions expressed by music such as joy, anger, and sadness are the meaning of music’s existence. Music without emotion will be dead. However, the music itself has no emotion at all; it is just a regular sound, so the emotional reading of music performance is very important. Music performance is an interpretation of music, and it is the most important emotional information and communication medium for human beings. Through the appreciation of the works to express the author’s emotions, the different performance forms of musical instruments, dance, and singing bring emotional resonance to the audience. Edge computing is the core technology and edge node of the Internet of everything in the new era, and it is constantly innovating with the rapid development of computers and the great changes brought about by them. Nowadays, people’s demand for emotional information processing of music performances has also increased. The research attention to music performance and the attention to its application technology have also received unprecedented development, so the requirements for the ability of human and machine interaction are getting higher and higher. With the increasing maturity of multimedia and communication technologies, there is an increasing expectation of using computers to express human thoughts and emotions. By combining the two, Dongfeng’s expression and analysis of music emotions through edge computing have also ushered in new developments. For example, people upload or share music and dance videos to their friends through WeChat, QQ, Douyin, etc., which greatly enriches people’s emotional world. The analysis and judgment of music emotion are the main subject of the joint development of both musicology and psychological research. With the help of computer science technology and artificial intelligence and other tools, the purpose of music emotional research can also be achieved. Particularly with the advancement of science and technology and the vigorous development of computer application technology, people’s needs for emotional expression and analysis of music can now be carried out with the help of computers. However, the amount of data generated is extremely large, and using edge servers for data processing can improve the efficiency of analysis and processing to meet people’s needs.
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Rao, B. D., and K. V. S. Hari. "Performance analysis of Root-Music." IEEE Transactions on Acoustics, Speech, and Signal Processing 37, no. 12 (1989): 1939–49. http://dx.doi.org/10.1109/29.45540.
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Wang, Dan. "Analysis of Sentiment and Personalised Recommendation in Musical Performance." Computational Intelligence and Neuroscience 2022 (June 2, 2022): 1–6. http://dx.doi.org/10.1155/2022/2778181.
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Music performance research is a comprehensive study of aspects such as emotional analysis and personalisation in music performance, which help to add richness and creativity to the art of music performance. The labels in this paper in collaborative annotation contain rich personalised descriptive information as well as item content information and can therefore be used to help provide better recommendations. The algorithm is based on bipartite graph node structure similarity and restarted random wandering. It analyses the connection between users, items, and tags in the music social network, firstly constructs the adjacency relationship between music and tags, obtains the music recommendation list and indirectly associated music collection, then fuses the results according to the proposed algorithm, and reorders them to obtain the final recommendation list, thus realising the personalised music recommendation algorithm. The experiments show that the proposed method can meet the personalised demand of users for music on this dataset.
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Prabawa, Anarbuka Kukuh, A. M. Susilo Pradoko, and Cipto Budy Handoyo. "PERSPEKTIF PENDIDIKAN SENI MUSIK BERORIENTASI HUMANISTIK." Imaji 19, no. 1 (July 18, 2021): 55–63. http://dx.doi.org/10.21831/imaji.v19i1.37093.
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Kajian ini merupakan hasil analisis kritis terhadap konsep pendidikan seni musik dengan berpusat pada orientasi humanistik. Orientasi humanistik berarti siswa dianggap sebagai subjek yang mandiri bukan sebagai objek didik.Peran pendidik disini memberikan pengalaman kepada siswa bagaimana cara untuk berekspresi, mengapresiasi, berkreasi, serta juga membentuk sebuah rangkaian harmonisasi yang melahirkan keindahan dalam rangka menumbuhkan kesadaran, kemandirian, dan tanggung jawab yang tinggi sebagai hakikat manusia yang seutuhnya. Sementara paradigm objektivasi murid dengan memberikan materi, pengetahuan hafalan dan ujian pilihan ganda menjadi model pembelajaran dominan. Penerapan pendidikan seni musik dengan berorientasi humanistik dilaksanakan penerapannya secara menyeluruh agar siswa mengerti dan mampu memahami makna inti dari belajar musik mencakup pengetahuan, keterampilan berkreativitas music dan sikap mandiri dalam penempilan musik.Kata Kunci : pendidikan musik, humanistik, subjek mandiri ABSTRACT This study is the result of a critical analysis of the concept of music education with a humanistic orientation centered on it. Humanistic orientation means that students are considered as independent subjects, not as objects of learning. The role of educators here is to provide students with experience on how to express, appreciate, be creative, and also form a series of harmonization that gives birth to beauty to foster awareness, independence, and responsibility that high as a complete human nature. Meanwhile, the objectivation paradigm of students by providing material, rote knowledge, and multiple-choice exams is the dominant learning model. The application of music education with a humanistic orientation is carried out as a whole so that students understand and can understand the core meaning of learning music including knowledge, musical creativity skills, and independent attitudes in musical performance. Keywords: Music Education, Humanistic, Independent. Subject
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Long, Tao. "Monitoring and Model Analysis of Vocal Performance Teaching Environment Using Cluster Analysis from the Perspective of Core Literacy." Journal of Environmental and Public Health 2022 (October 6, 2022): 1–9. http://dx.doi.org/10.1155/2022/1477309.
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To cultivate students’ artistic quality, enhance their vocal music quality, and prepare them to make great contributions to the innovation and development of my country’s vocal music art is the main goal of opening vocal music performance major in colleges and universities. With the advancement of technology and the demands of talent development, the vocal music teaching methodology for the vocal music performance major in colleges and universities must be continuously enhanced. Otherwise, there will be an issue of disconnect between teaching style and talent development, which will harm both the development of high-quality vocal music talents and the innovation and growth of vocal music performance majors in colleges and universities. The vocal music performance major at colleges and universities should actively support the reform and innovation of the vocal music teaching mode in order to extend students’ knowledge, develop their all-around ability, and provide a strong foundation for vocal music performance, to develop students’ all-encompassing musical abilities. This research suggests a design strategy for the monitoring and model optimization of the teaching environment for vocal performance majors from the standpoint of core literacy. To increase the efficiency and objectivity of course instruction, cluster analysis aids students in categorising and searching for vocal music performance main repertoire as well as using collaborative filtering recommendations to locate their own vocal music performance. The simulation test analysis is completed lastly. The method has a certain accuracy, which is 7.59% higher than the conventional algorithm, according to the simulation findings. In addition to significantly increasing student interest in studying vocal music performance courses, we further reform and innovation of the teaching method for these courses at colleges and universities can also strengthen students’ understanding of various repertoire styles and significantly enhance their musical literacy.
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Vaughan, Victoria. "Music analysis in the practice room." British Journal of Music Education 19, no. 3 (October 28, 2002): 255–68. http://dx.doi.org/10.1017/s0265051702000347.
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This article examines the impact of analysis teaching on performance by documenting the progress of 12 students who took part in an advanced undergraduate class in music analysis. Each class participant was asked to keep a diary of their performances, both during practice time and in instrumental lessons, and these are documented and analysed. Finally, the students were given oral viva voce examinations. The data from this short qualitative study shows a variety of results that illustrate the extent to which individual students react to the teaching of music analysis in different ways.
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Sumner Lott, Marie. "At the Intersection of Public and Private Musical Life: Brahms's Op. 51 String Quartets." Journal of the Royal Musical Association 137, no. 2 (2012): 243–305. http://dx.doi.org/10.1080/02690403.2012.717468.
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AbstractBrahms's dedication of his op. 51 string quartets (1873) to the surgeon Theodor Billroth provides a window into Brahms's musico-political views in the 1870s that has hitherto been unexplored by music scholars. Analysis of correspondence, performance traditions and the scores of these two quartets demonstrates that Brahms chose to align himself and his works with the learned connoisseurs of the domestic chamber-music-making tradition, represented by Billroth and his frequent musical soirées. Brahms's music also shows the influence of Joseph Joachim, his oldest and dearest friend and Europe's premier chamber musician. Brahms's compositional choices in these two works combine public and private musical styles, to offer a touching memorial to earlier composers and friends, and to provide a teachable moment for the musical public.
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Herissone, Rebecca. "Playford, Purcell, and the Functions of Music Publishing in Restoration England." Journal of the American Musicological Society 63, no. 2 (2010): 243–90. http://dx.doi.org/10.1525/jams.2010.63.2.243.
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Abstract During Purcell's lifetime the music-publishing business in England flourished, thanks mainly to John Playford. Since intellectual property rights did not yet exist, Playford and his successors were able to select music they were confident of selling, predominantly producing multicomposer anthologies of popular tunes. Composers may have benefited little from these publications so it is significant that some took the financial risk of printing their music without an established publisher's support. Analysis suggests that musical self-publication was undertaken for several quite specific purposes. Three self-published books stand out as the only operatic scores published in seventeenth-century England: Locke's The English Opera (1675), Grabu's Albion and Albanius (1687), and Purcell's The Vocal and Instrumental Musick of the Prophetess (1691). These substantial volumes had no obvious practical use and all sold poorly; put into political context, however, they reveal how printed music in England was developing from a purely practical performance tool into a medium through which statements could be made and musical works given monumental status. Yet Purcell's own management of the printing of The Vocal and Instrumental Musick of the Prophetess suggests that he was confused about the distinct and mutually exclusive functions of music printing in the period, which led him to misunderstand the nature of the market and how he might appropriate the medium for his own benefit.
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Batubara, Junita. "DESTINASI: Kolaborasi Kreatif Musik Digital, Puisi dan Tari." Resital: Jurnal Seni Pertunjukan 22, no. 1 (September 23, 2021): 1–11. http://dx.doi.org/10.24821/resital.v22i1.5866.
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This research discusses the implementation of a music score into a collaboration of digital music, dance and poetry. The integration of the three arts is done by symbolizing human life from birth to adulthood. The researcher, as the creator of this Destination composition, intends to add to his repertoire by combining three different arts, namely, digital music, dance and poetry. This compositional work was created using qualitative, practice-based, practice-led and ethnographic methods. The process of making this work is by analyzing music score data taken from the results of field exploration and in combination with poetry and dance script data and then processed into the laboratory desk. The result is the creation of collaborative digital music, dance and poetry, based on the culture of human life and the author's background and life experiences. The work reflects the symbols of human life which are revealed in the poem entitled Directions of Life. Initially, Destination's composition work was a composite work created using cross-cultural (combination) elements of Western music, and Malay music (gendang Malay). Furthermore, the work is processed into a collaboration that is carried out with a combination of motion, emotion, voice intonation and digital music. The result of the collaboration of Destination's compositions is to produce a performance that combines three different arts where music is the main focus in bringing out ideas and concepts of body movement and voice intonation from dancers and poetry readers. The ability to relate ideas or ideas to a musical concept, producing a new work with the collaboration of three different arts which can be used by musicians, practitioners, and educators in Indonesia. Penelitian ini mendiskusikan implementasi sebuah skor musik menjadi kolaborasi musik digital,seni tari dan puisi. Penggabungan ketiga seni tersebut dilakukan dengan cara symbol kehidupan manusia dari mulai lahir hingga dewasa. Peneliti sebagai pencipta karya komposisi destinatioan ini bermaksud untuk menambah repertoar dengan menggunakan penggabungan tiga seni yang berbeda yaitu, musik digital, tari dan puisi. Karya komposisi ini diciptakan dengan menggunakan metode kualitatif, practice-based, practice-led dan ethnographic. Proses pembuatan karya tersebut dengan melakukan analisa data skor musik yang diambil dari hasil eksplorasi lapangan dan kombinasi dengan data script puisi dan tari kemudian diolah ke dalam desk laboratory. Hasilnya adalah terciptanya kolaborasi karya seni musik digital, tari dan puisi, berdasarkan budaya kehidupan manusia dan latar belakang penulis dan pengalaman kehidupan penulis. Di dalam karya tersebut mencerminkan symbol-symbol kehidupan manusia yang terungkap dalam puisi yang berjudul Arah Kehidupan. Awalnya Karya komposisi Destination merupakan karya penggabungan yang diciptakan menggunakan silang budaya (kombinasi) elemen-elemen musik Barat, dan musik melayu (gendang melayu). Selanjutnya karya tersebut diolah menjadi sebuah kolaborasi yang dilakukan dengan perpaduan gerak, emosi, intonasi suara dan musik digital. Hasil dari kolaborasi karya komposisi Destination adalah menghasilkan sebuah pertunjukan perpaduan tiga ilmu seni yang berbeda dimana musik sebagai fokus utama dalam memunculkan ide-ide dan konsep gerakan tubuh dan intonasi suara dari penari dan pembaca puisi. Kemampuan untuk mengaitkan idea atau gagasan terhadap sebuah konsep musik, menghasilkan sebuah karya baru dengan kolaborasi tiga seni yang berbeda dimana bisa digunakan oleh musisi, praktisi, dan edukator di Indonesia.
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Bannai, Kurara, Takayoshi Kase, Shintaro Endo, and Kazou Oishi. "Relationships Among Performance Anxiety, Agari Experience, and Depressive Tendencies in Japanese Music Students." Medical Problems of Performing Artists 31, no. 4 (December 1, 2016): 205–10. http://dx.doi.org/10.21091/mppa.2016.4037.
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The purpose of this study was to investigate the relationships among anxiety prior to actual performance (music performance anxiety, MPA), mental and physical negative responses during performance (agari), and depressive tendencies in Japanese college students majoring in music. Participants were 171 music majors (33 males, 138 females, 20.6±1.7 yrs). They rated the degree of self-perceived MPA before their performance on a scale ranging from 0–100%. The Features of Agari Experience Questionnaire was used to assess agari response levels during standard performances, and the Japanese version of the Center for Epidemiologic Studies Depression Scale (CESD) was used to measure depressive tendencies. Path analysis showed that MPA levels were positively related to agari scores, which were positively related to CES-D scores. Mediation analysis found a significant indirect effect of MPA scores on CES-D scores via the agari scores. These results suggest that MPA first occurs before an actual music performance and evokes agari, which in turn may cause an increase in depressive tendencies.
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Tjahyadi, Indra. "Representasi Probolinggo dalam Seni Pertunjukan Musik Patrol Kelabang Songo." PROMUSIKA 8, no. 2 (May 7, 2021): 69–89. http://dx.doi.org/10.24821/promusika.v1i2.4585.
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Sebuah karya seni tidak saja dapat dipahami sebagai hasil cipta manusia yang bernilai estetika, tetapi juga dapat dipahami sebagai dokumen kebudayaan. Sebagai dokumen kebudayaan, setiap karya seni memuat simbol-simbol atau tanda-tanda yang maknanya berelasi pada kebudayaan tempat karya seni tersebut diciptakan. Artikel ini memfokuskan kajiannya pada identitas Probolinggo yang direpresentasikan dalam karya seni pertunjukan musik patrol Kelabang Songo. Teori yang digunakan untuk mengungkap makna tanda atau makna simbol yang terdapat dalam karya seni pertunjukan musik patrol tersebut adalah teori semiotika Charles Sanders Peirce. Metode yang digunakan dalam penelitian ini adalah metode kualitatif interpretif. Faktor interpretasi atas tanda yang menjadi dasar kerja analisis merupakan faktor yang mendorong dipilihnya metode tersebut dalam artikel ini. Berdasarkan analisis yang dilakukan ditemukan bahwa dalam seni pertunjukan musik patrol Kelabang Songo merepresentasikan Probolinggo sebagai wilayah kebudayaan masyarakat Pendalungan, yakni masyarakat yang memiliki kebudayaan campuran Jawa dan Madura.AbstractProbolinggo Representation in The Performing Arts of Kelabang Songo Music Patrol. A work of art can not only be understood as a human creation with aesthetic value but can also be understood as a cultural document. As a cultural document, each work of art contains symbols or signs whose meanings relate to the culture in which the artwork was created. This article focuses its study on the identity of Probolinggo, which is represented in the artwork of the Kelabang Songo patrol music performance. The theory used to reveal the meaning of signs or symbols contained in the artwork of patrol music is Charles Sanders Peirce's theory of semiotics. The method used in this research is a qualitative interpretive method. The interpretation factor of the sign on which the analysis works is a factor that drives the choice of this method in this article. Based on the analysis conducted, it was found that the Kelabang Songo patrol music performance art represented Probolinggo as the cultural area of the Pendalungan people, namely people who had a mixture of Javanese and Madurese cultures.
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Martin, Jodie L. "Writing about music: The selection and arrangement of notation in jazz students’ written texts." British Journal of Music Education 35, no. 1 (September 12, 2017): 73–89. http://dx.doi.org/10.1017/s0265051717000171.
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Music notation is intrinsic in the composition and performance of Western art music and also in its analysis and research. The process of writing about music remains underexplored, in particular how excerpts of music notation are selected and arranged in a written text, and how that text describes and contextualises the excerpts. This article applies ‘semantic gravity’ from Legitimation Code Theory to characterise notational excerpts and their integration in a written text, by focusing on how closely they are connected to a particular performance or generalised across performances. It illustrates these concepts with case studies of tertiary students’ research projects to reveal how different purposes drive different notational usage when writing about music. This provides insight for music educators on how to support writing about music and the use of notational quotes.
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Ciuonzo, Domenico, Gianmarco Romano, and Raffaele Solimene. "Performance Analysis of Time-Reversal MUSIC." IEEE Transactions on Signal Processing 63, no. 10 (May 2015): 2650–62. http://dx.doi.org/10.1109/tsp.2015.2417507.
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Imai-Matsumura, Kyoko, and Megumi Mutou. "Gaze Analysis of Pianists’ Sight-reading: Comparison Between Expert Pianists and Students Training to Be Pianists." Music & Science 4 (January 2021): 205920432110611. http://dx.doi.org/10.1177/20592043211061106.
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One of the most important skills for a pianist is sight-reading, which is the ability to read an unknown music score and play it. In recent years, research has analysed eye movement during sight-reading. However, the definition of sight-reading has varied. In addition, the participants enlisted as experts in most studies have been music college students. The present study aimed to compare eye movements during sight-reading between experts, teachers at a music college and pianists, and non-experts, music college students studying to become pianists, using an eye tracker. Using easy and difficult music scores for two-handed playing, we investigated whether there were differences in the number of eye fixations, fixation duration, and eye-hand span. The definition of sight-reading in this study is to read a novel music score once without playing the piano, and then to play it while looking at the music score. The results showed that the higher the piano performance rating, the longer the eye-hand span. Areas of interest (AOIs) were defined every two rows, including a treble and bass staff in each music score. We conducted a two-factor repeated measures ANOVA (group × AOI) for each dependent variable to analyse fixation count and fixation duration per eye fixation. There was a significant interaction for the fixation count between groups and AOIs both without and with performance in the difficult score. In experts, the number of eye fixations on the difficult part of difficult score increased compared with other part both without and with performances. By contrast, there was a significant interaction for the duration per eye fixation between groups and AOIs in easy score with performance. The duration per eye fixation in experts was shorter than that in non-experts in the easy score with performance. These results suggest that experts get information through short gaze fixations.
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Martin, Charles Patrick, and Jim Torresen. "Data-Driven Analysis of Tiny Touchscreen Performance with MicroJam." Computer Music Journal 43, no. 4 (October 2020): 41–57. http://dx.doi.org/10.1162/comj_a_00536.
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The widespread adoption of mobile devices, such as smartphones and tablets, has made touchscreens a common interface for musical performance. Although new mobile music instruments have been investigated from design and user experience perspectives, there has been little examination of the performers' musical output. In this work, we introduce a constrained touchscreen performance app, MicroJam, designed to enable collaboration between performers, and engage in a data-driven analysis of more than 1,600 performances using the app. MicroJam constrains performances to five seconds, and emphasizes frequent and casual music-making through a social media–inspired interface. Performers collaborate by replying to performances, adding new musical layers that are played back at the same time. Our analysis shows that users tend to focus on the center and diagonals of the touchscreen area, and that they tend to swirl or swipe rather than tap. We also observe that, whereas long swipes dominate the visual appearance of performances, the majority of interactions are short with limited expressive possibilities. Our findings enhance our understanding of how users perform in touchscreen apps and could be applied in future app designs for social musical interaction.
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PICU, Laurentiu, and Eugen RUSU. "AN ANALYSIS OF THE EFFECT OF THE BODY VIBRATIONS ON THE HUMAN PERFORMANCES." Mechanical Testing and Diagnosis 10, no. 4 (January 12, 2021): 5–11. http://dx.doi.org/10.35219/mtd.2020.4.01.
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In this paper, we wanted to check if classical music can improve the intellectual and practical skills of those who work in very difficult conditions. For this, we exposed 44 male students, aged 21-24, with normal BMI (19-24), in perfect health, to four types of stressors, when there is classical music as a sic sound background and when we have no music. The stressors used were vibration, excessive temperature, and humidity as well as very strong light. Two pieces of music were chosen as background: "Eine Kleine Nachtmusik" (Mozart) and "Minuetto" (Boccherini). These 2 musical works were chosen because they are cheerful, optimistic, written in an alert rhythm, easily recognizable even if the audience is not music lovers. Students’ performance was measured using 3 tests: the Purdue Pegboard Test, the Stroop Color and Word Test and also Comparing of Names Test. The results show that neither Mozart's music nor Boccherini's music led to an improvement in student performances; on the contrary, better results were obtained when it was silence.
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Wesolowski, Brian C., Stefanie A. Wind, and George Engelhard. "Examining Rater Precision in Music Performance Assessment." Music Perception 33, no. 5 (June 1, 2016): 662–78. http://dx.doi.org/10.1525/mp.2016.33.5.662.
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The use of raters as a methodological tool to detect significant differences in performances and as a means to evaluate music performance achievement is a solidly defended practice in music psychology, education, and performance science research. However, psychometric concerns exist in raters’ precision in the use of task-specific scoring criteria. A methodology for managing rater quality in rater-mediated assessment practices has not been systematically developed in the field of music. The purpose of this study was to examine rater precision through the analysis of rating scale category structure across a set of raters and items within the context of large-group music performance assessment using a Multifaceted Rasch Partial Credit (MFR-PC) Measurement Model. Allowing for separate parameterization estimation of the rating scale for each rater can more clearly detect variability in rater judgment and improve model-data fit, thereby enhancing objectivity, fairness, and precision of rating quality in the music assessment process. Expert judges (N = 23) rated a set of four recordings by middle school, high school, collegiate, and professional jazz big bands. A single common expert rater evaluated all 24 jazz ensemble performances. The data suggest that raters significantly vary in severity, items significantly vary in difficulty, and rating scale category structure significantly varies across raters. Implications for the improvement and management of rater quality in music performance assessment are provided.
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Cockerton, Tracey, Simon Moore, and Dale Norman. "Cognitive Test Performance and Background Music." Perceptual and Motor Skills 85, no. 3_suppl (December 1997): 1435–38. http://dx.doi.org/10.2466/pms.1997.85.3f.1435.
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This study examined the effects of background music on test performance. In a repeated-measures design 30 undergraduates completed two cognitive tests, one in silence and the other with background music. Analysis suggested that music facilitated cognitive performance compared with the control condition of no music: more questions were completed and more answers were correct. There was no difference in heart rate under the two conditions. The improved performance under the music condition might be directly related to the type of music used.
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Fearing, Autumn, Taylor Rae Konkle, Jacqueline Laitsch, Hannah Pierce, Claire Rater, Karen Reece, Randy Stoecker, and Theodora Varelis. "Is Hip-Hop Violent? Analyzing the Relationship Between Live Music Performances and Violence." Journal of Black Studies 49, no. 3 (February 19, 2018): 235–55. http://dx.doi.org/10.1177/0021934718754313.
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This project tested the dominant cultural belief that Hip-Hop music is a more violent form of music. Our research compared music genres and indicators of violence. Using data from the Madison Police Department, we coded and analyzed 4,624 police calls made from bars, clubs, and venues licensed to host live musical performances in Madison from 2008 to 2016. We then determined whether there was a live music performance during the time of a police call by using archives from local publications, venue websites, and direct correspondence with venues. When compared with all other genres, our analysis does not confirm the popular belief that live Hip-Hop performances have higher instances of violence in Madison, Wisconsin.
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Kun, Sui, and Kim Hyung-Gi. "Innovative Methods in Planning, Design and Lighting of Music Visual Buildings in Modern Architectural." Open House International 44, no. 3 (September 1, 2019): 17–19. http://dx.doi.org/10.1108/ohi-03-2019-b0005.
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Based on the analysis of the data of the landscape live performances which have already been performed, this paper combs the development process of the live performances and other information of the performance types so that the public can have a clearer and clearer understanding of the live performances. Through time-frequency domain analysis method, the characteristic elements of waveform music are extracted and classified into sub-music segments in different rough emotional domains according to certain classification methods. And the application weights of the feature values of each music feature are defined in different emotion domains, which makes the input of the system more rational. For the output of the light action control data, this article has a certain interpretation of the DMX512 data, making the interpretation of the output more intuitive. The basic characteristics of music include speed, mode, beat, tone, volume, and the pitch, pitch, and length of notes. Therefore, in the future, the method of realizing music visualization in architectural lighting design and the method of realizing interaction with people will have more possibilities.
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Murcahyanto, Hary, Yuspianal Imtihan, Mohzana Mohzana, and Muhammad Kadafi. "Eksistensi Pertunjukan Musik Burdah." Gondang: Jurnal Seni dan Budaya 5, no. 1 (April 6, 2021): 64. http://dx.doi.org/10.24114/gondang.v5i1.23135.
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This paper is based on the results of research aimed at describing the existence and development of Burdah music performances in Lombok Timur The type of research used descriptive qualitatively using methods with the object of study is the Burdah music. The location of this research is in Rempung Village, Pringgasela District, Lombok Timur Regency. The target of the study in this study is the existence of Burdah music performances. Data is collected through observation data collection techniques, interviews and documentation. Data analysis techniques are performed with data reduction steps, data presentation and data verification. The results of this study showed that the factors that support the existence of Burdah music consists of good management, has a complete organizational structure with managerial system, solid in achieving the goal of using an educational system, has a characteristic that maintains a sense of solidarity between members and management and has a lot of performance experience both formal and non-formal. The conclusion of this paper is that the existence of Burdah music is strongly influenced by management factors, solidarity, characteristics and performance experience.
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Price, Harry E., and Evelyn K. Orman. "MENC 2000 National Biennial In-Service Conference: A Content Analysis." Journal of Research in Music Education 49, no. 3 (October 2001): 227–33. http://dx.doi.org/10.2307/3345708.
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The 413 sessions of the 2000 MENC National Biennial In-Service Conference were classified according to category, which included educational sessions, concerts and sessions that included performances, and general sessions. They were also grouped according to subject areas, including general music, performance, administration, research, technology, industry and exceptionalities. By far the largest proportionate category of sessions was education (65%), followed distantly by sessions including performances (17%). Promotion of industry products dominated, accounting for 29% of all sessions and 40% of the content of educational sessions. Technology sessions represented 25% of all subjects and 71%) of industry sessions. Performance-focused sessions comprised just over 20%). A continuation of trends of high industry representation and increasing technology, along with decreasing performances and performance-oriented sessions, was found. A single session on inclusion resulted in the exceptionalities category forming 0.4% of total conference offerings.
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Yanuar, Dani. "Interaksi musikal dalam pertunjukan Kesenian Topeng Betawi." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (July 17, 2019): 10–18. http://dx.doi.org/10.33153/dewaruci.v14i1.2532.
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Penelitian ini membahas mengenai interaksi musikal dalam pertunjukan kesenian Topeng Betawi. Fokus permasalahan menitikberatkan tentang bagaimana jalinan interaksi musikal yang terjadi di antara para pemain musik dalam sajian gending pokok pertujukan kesenian Topeng Betawi. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis yakni metode dengan cara menggambarkan atau melukiskan objek yang dikaji berdasarkan data-data yang diperoleh, yang kemudian dilakukan analisis terhadap data tersebut. Penelitian ini menerapkan teori interaksi musikal yang dirumuskan oleh Benjamin Brinner. Teknik pengumpulan data diperoleh melalui studi lapangan, perekaman audio-visual, dan studi pustaka. Hasil analisis dari penelitian ini dapat disimpulkan (1) Pemain rebab sebagai pimpinan yang memiliki kewajiban untuk mengkoordinasi jalannya pertunjukan. (2) Tata letak instrumen musik dari masing-masing penyaji didasarkan atas pertimbangan kelancaran pesan musikal. (3) Pesan musikal merupakan tanda yang kemudian mendapat respon dari pemain musik yang lain. (4) Struktur gending dipengaruhi jenis irama yang dimainkan. (5) Respon musikal merupakan wujud dari motivasi masing-masing pemain musik. ABSTRACTThis study discusses the musical interaction in Topeng Betawi art performances. The focus of the problem focuses on how the fabric of musical interaction that occurs between the musicians in the musical staple grain Performace Topeng Betawi arts. The method used in this research is a descriptive analysis of the methods by describing or depicting an object under study based on the data obtained, which then conducted an analysis of the data. This research applies the theory of musical interaction formulated by Benjamin Brinner. Data collection techniques gained through fieldworks, audio-visual recording, and literature. Analytical results from this study can be concluded (1) Player fiddle as a leader who has the obligation to coordinate the course of the show. (2) The layout of musical instruments from each presenter is based on the consideration of the smoothness of the musical message. (3) Book musicals is a sign that later received a response from the other music players. (4) The structure of the musical influenced the type of rhythm being played. (5) Response musical is a form of motivation for each music player.
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Vlahopol, Gabriela. "Analyst vs Performer. The Importance of Studying The Music Analysis Discipline for The Development of Critical-Analytical Thinking of Perfomer Students." Review of Artistic Education 17, no. 1 (March 1, 2019): 69–76. http://dx.doi.org/10.2478/rae-2019-0008.
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Abstract In the music higher education, the appearance of a concept of incompatibility between the performance practice and the studentsʼ theoretical and analytical training is a phenomenon with multiple consequences on their training, on the way of organizing a curriculum and a hierarchical deformed attitude on the different subjects in the curriculum.This study summarizes some of the arguments that emphasize the role played by the study of the Music Analysis in developing the musicianʼs ability to understand music from the perspective of the compositional conception, to discover its importance as a stage in the formation of an original performance concept while highlighting the advantages of a collaborative approach between the two areas of training of the musician.
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Wiharyanti, Theresia Ratna, Totok Sumaryanto Florentinus, and Udi Utomo. "Aesthetic Response of Audiences’ Behavior of Dangdut Koplo Music Performance." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 205–12. http://dx.doi.org/10.15294/harmonia.v20i2.28059.
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Dangdut Koplo music performances are favored and watched by the public. This is able to generate an aesthetic response of the audiences, which is shown by their behavior. This study aims to examine the aesthetic response of audience behavior of dangdut koplo music performances in Pekalongan. This research uses qualitative methods, data collection using observation, interview, and document study techniques. Data analysis procedures used data reduction, data presentation, and data verification. The validity of the data used is triangulation, data sources, and theory. The results showed that the aesthetic response in the audience behavior of dangdut koplo music performance in Kalirejo village, Talun, Pekalongan Regency had a positive response that led to behavior, such as (1) dancing with friends in groups or alone; (2) Menyawer (giving some money); and (3) notice the show schedule. Based on the research results, it can be suggested: (1) can broaden the insight and description of the development of music, especially dangdut koplo music in the present era, (2) can be taken into consideration how the impact of dangdut koplo on the behavior of dangdut koplo music performances.
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Okan, Hepşen. "A Conceptual Framework and Theoretical Analysis of Philosophical and Somaesthetics Approaches in Music and Performance Education." International Journal of Education and Literacy Studies 11, no. 1 (January 30, 2023): 222–31. http://dx.doi.org/10.7575/aiac.ijels.v.11n.1p.222.
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ABSTRACTThe aesthetic experience of the body in music and performance education offers a remarkable perspective in terms of musical understanding. Somatic approaches and practices for mind-body integrity play a facilitating role in this process. The aim of this conceptual article is to examine theoretical and practical applications within the conceptual framework of somaesthetics in music and performance education. Accordingly, the aim of this research is (i) to define the elements of somaesthetics in music and performance education, and (ii) to explore the unity of body and mind in music and performance education. In this context, examples of applications based on somaesthetics in music and performance education will be included. As a result of this review, practical recommendations are provided for music and instrument educators. These recommendations cover physical and mental practices with a reflective perspective. Through this study, the contributions of somatic approaches and practices in music and performance education are discussed and practical suggestions are made.
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Zou, Liangjun. "Emotion Recognition of Violin Playing Based on Big Data Analysis Technologies." Journal of Environmental and Public Health 2022 (September 15, 2022): 1–9. http://dx.doi.org/10.1155/2022/8583924.
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The rapid development of Internet technology has promoted the vigorous development of the multimedia. As one of the most classic instruments, the violin has been fully developed in its creation, education, and performance. In the face of more and more violin performances, the effective organization and retrieval of these musical works is an urgent problem to be solved, while it is common to classify and organize music based on the emotional properties of the performance. Deep learning is a model based on feature hierarchy and unsupervised feature learning, which has strong learning ability and adaptability. Based on the recurrent neural network (RNN) method, long short-term memory (LSTM) is one of the classic models of deep learning that can effectively learn the characteristics of time series data and achieve effective predictions. Therefore, based on the classical Hevner emotion classification model, this paper proposes an emotion recognition method for dynamic violin performances based on LSTM, which selects acoustic features and classifies the audio acoustic signals contained in the violin performances. In order to verify the effectiveness of this method, this paper carries out data labeled, feature selection, and model test on the actual violin music data by turn. The results show that the proposed method can greatly reduce the training time and improve the prediction accuracy, which reached 83%, higher than the existing methods. Meanwhile, the accuracy and iteration times of violin playing music of different emotional categories are also counted. Moreover, the method is robust to the genre, timbre, and noise changes, and the emotion recognition effect is superior.
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Qi, Zi-sen, Ying Guo, Bu-hong Wang, and Cheng Gong. "Performance Analysis of MUSIC for Conformal Array." Journal of Electronics & Information Technology 30, no. 11 (April 15, 2011): 2674–77. http://dx.doi.org/10.3724/sp.j.1146.2007.00690.
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Lerch, Alexander, Claire Arthur, Ashis Pati, and Siddharth Gururani. "An Interdisciplinary Review of Music Performance Analysis." Transactions of the International Society for Music Information Retrieval 3, no. 1 (2020): 221–45. http://dx.doi.org/10.5334/tismir.53.
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Liebman, Elad, Eitan Ornoy, and Benny Chor. "A Phylogenetic Approach to Music Performance Analysis." Journal of New Music Research 41, no. 2 (June 2012): 195–222. http://dx.doi.org/10.1080/09298215.2012.668194.
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Auslander, Philip. "Performance Analysis and Popular Music: A Manifesto." Contemporary Theatre Review 14, no. 1 (February 2004): 1–13. http://dx.doi.org/10.1080/1026716032000128674.
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Zdzinski, Stephen F. "Parental Involvement, Selected Student Attributes, and Learning Outcomes in Instrumental Music." Journal of Research in Music Education 44, no. 1 (April 1996): 34–48. http://dx.doi.org/10.2307/3345412.
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This study examined relationships among selected aspects of parental involvement as they relate to the cognitive, affective, and performance outcomes of instrumental music students. Independent variables were music aptitude, parental involvement, grade level, and gender. Dependent variables were cognitive musical outcomes, performance outcomes, and affective outcomes. Subjects were instrumental music students ( N = 406) from five intact band programs located in rural New York and Pennsylvania. Wind and percussion volunteers from Grades 4 through 12 participated. Data were examined using descriptive analysis, correlational analysis, and analysis of variance. Major findings included: (1) Parental involvement was related to overall performance, affective, and cognitive musical outcomes. (2) For cognitive musical outcomes, parental involvement was only related at the elementary level. (3) For musical performance outcomes, parental involvement was only related at the elementary level. (4) For affective outcomes, the strength of the parental involvement relationship increased with student age. (5) Items concerning concert attendance, providing materials, participating in parent groups, and tape-recording student performances were related to all outcome areas.
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Hu, Xiao, Fanjie Li, and Ruilun Liu. "Detecting Music-Induced Emotion Based on Acoustic Analysis and Physiological Sensing: A Multimodal Approach." Applied Sciences 12, no. 18 (September 18, 2022): 9354. http://dx.doi.org/10.3390/app12189354.
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The subjectivity of listeners’ emotional responses to music is at the crux of optimizing emotion-aware music recommendation. To address this challenge, we constructed a new multimodal dataset (“HKU956”) with aligned peripheral physiological signals (i.e., heart rate, skin conductance, blood volume pulse, skin temperature) and self-reported emotion collected from 30 participants, as well as original audio of 956 music pieces listened to by the participants. A comprehensive set of features was extracted from physiological signals using methods in physiological computing. This study then compared performances of three feature sets (i.e., acoustic, physiological, and combined) on the task of classifying music-induced emotion. Moreover, the classifiers were also trained on subgroups of users with different Big-Five personality traits for further customized modeling. The results reveal that (1) physiological features contribute to improving performance on valence classification with statistical significance; (2) classification models built for users in different personality groups could sometimes further improve arousal prediction; and (3) the multimodal classifier outperformed single-modality ones on valence classification for most user groups. This study contributes to designing music retrieval systems which incorporate user physiological data and model listeners’ emotional responses to music in a customized manner.
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STEWART, LAUREN ELDRIDGE. "Singing on Solid Ground: Music Education in Post-Earthquake Haiti." Twentieth-Century Music 19, no. 2 (June 2022): 194–200. http://dx.doi.org/10.1017/s147857222200007x.
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AbstractThe sonic aftershocks of the 2010 earthquake in Haiti continue to reverberate throughout the cultural landscape, particularly within the relatively small but long-standing mizik klasik community. In this article, I analyse the sometimes divergent performances of a composition that commemorates that tragedy. Haitian-American composer Sydney Guillaume wrote ‘N'ap Debat’ (‘We're Hangin’ On’) from Los Angeles shortly after the earthquake. One performance of this work takes place far from the site of ruin, voiced by distant observers. The other performance happens in Haiti, sung by its survivors. Both performances transform rubble into ruin.
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Turner, Craig, Peter Visentin, Deanna Oye, Scott Rathwell, and Gongbing Shan. "Pursuing Artful Movement Science in Music Performance: Single Subject Motor Analysis With Two Elite Pianists." Perceptual and Motor Skills 128, no. 3 (March 27, 2021): 1252–74. http://dx.doi.org/10.1177/00315125211003493.
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Piano performance motor learning research requires more “artful” methodologies if it is to meaningfully address music performance as a corporeal art. To date, research has been sparse and it has typically constrained multiple performance variables in order to isolate specific phenomena. This approach has denied the fundamental ethos of music performance which, for elite performers, is an act of interpretation, not mere reproduction. Piano performances are intentionally manipulated for artistic expression. We documented motor movements in the complex task of performance of the first six measures of Chopin’s “Revolutionary” Etude by two anthropometrically different elite pianists. We then discussed their motor strategy selections as influenced by anthropometry and the composer’s musical directives. To quantify the joint angles of the trunk, shoulders, elbows, and wrists, we used a VICON 3 D motion capture system and biomechanical modeling. A Kistler force plate (1 N, Swiss) quantified center of gravity (COG) shifts. Changes in COG and trunk angles had considerable influence on the distal segments of the upper limbs. The shorter pianist used an anticipatory strategy, employing larger shifts in COG and trunk angles to produce dynamic stability as compensation for a smaller stature. Both pianists took advantage of low inertial left shoulder internal rotation and adduction to accommodate large leaps in the music. For the right arm, motor strategizing was confounded by rests in the music. These two cases illustrated, in principle, that expert pianists’ individualized motor behaviors can be explained as compensatory efforts to accommodate both musical goals and anthropometric constraints. Motor learning among piano students can benefit from systematic attention to motor strategies that consider both of these factors.