Relevant bibliographies by topics / Musical characteristics

Academic literature on the topic 'Musical characteristics'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Musical characteristics"

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Tyasrinestu, Fortunata. "Lirik Musikal pada Lagu Anak Berbahasa Indonesia." Resital: Jurnal Seni Pertunjukan 15, no. 2 (December 1, 2014): 163–68. http://dx.doi.org/10.24821/resital.v15i2.850.

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Penelitian ini mengkaji bahasa lagu anak berbahasa Indonesia. Lagu anak berbahasa Indonesia adalah lagu yang diperuntukkan dan dinyanyikan oleh anak-anak sesuai dengan perkembangan anak. Tujuan penelitian ini adalah untuk mendeskripsikan karakteristik lagu anak (LA) secara musikal dengan memperhatikan kata-kata atau lirik yang ada dalam lagu anak berbahasa Indonesia. Karakteristik lirik dan karakteristik musikal yang saling menyatu merupakan harmoni yang indah dalam lagu anak. Penelitian ini menggunakan metode deskriptif. Analisis yang diterapkan adalah metode holistik yang dipergunakan untuk melihat LA dari beberapa perspektif melalui wawancara dan angket yang diperoleh dari praktisi musik dan praktisi pendidikan, guru, orangtua, siswa dan awam. Hasil penelitian menunjukkan bahwa lagu anak berbahasa Indonesia mempunyai beberapa karakteristik secara lirik dan musikal yaitu 1) pola ritme yang diulang secara musikal, 2) melodi yang diulang secara musikal, 3) motif yang diulang secara musikal, dan 4) kata-kata yang diulang secara musikal. Fungsi lagu anak berbahasa Indonesia selain untuk belajar bahasa juga mengandung nilai pendidikan dan karakter positif untuk anak dengan kata-kata bermakna positif pada lirik-liriknya. The Characteristics of Musical Lyrics on Indonesian Children Songs.The study tries to examine the discourse of Indonesian children songs. Indonesian children songs are songs that are composed for and sung by children in accordance with the child development stages. The purpose of this study is to describe the discourse of Indonesian children songs which describe their musical characteristics by giving more attention on words or lyrics of the songs. The characteristics of lyrics and musical characteristics that belong to each other are mainly a beautiful harmony in children songs. This study uses a descriptive method. The holistic method is employed to analyze children songs from some perspectives by doing the interview and distributing questionnaires to musicians, educators, teachers, parents, students, and common people in terms of composition background, the actual condition, and the resulted effect. The result shows that the Indonesian children songs have their own lyrics and musical characteristics as the followings: 1) the pattern of repeated musical rhythm, 2) the musically-repeated melody , 3) the repeated musical motives, and 4) the musically-repeated words. The function of Indonesian children songs is to learn a language of which the songs may also contain positive education values and characters for children by showing the meaningful words in the lyrics.
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Maki, Okada. "Musical characteristics of Enka." Popular Music 10, no. 3 (October 1991): 283–303. http://dx.doi.org/10.1017/s0261143000004657.

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This paper presents an analysis of enka, a type of Japanese popular song. I shall attempt to elucidate the musical characteristics of enka by examining its musical scales, melodies, vocal techniques and rhythms. We shall see, however, that enka is a composite genre, not characterised by a single type of scale or rhythm. Furthermore, it is virtually impossible to understand enka without reference to other types of Japanese popular song. Thus some discussion of such other genres will also be required.
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Kim, Jeong-Hee. "Musical Characteristics of Gipan Sijo." STUDIES IN KOREAN MUSIC 63 (June 30, 2018): 199–232. http://dx.doi.org/10.35983/sikm.2018.63.199.

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Nevriana, Alicia, Pandu Riono, Tri Budi W. Rahardjo, and Adji Kusumadjati. "Lifetime Musical Activities and Cognitive Function of the Elderly." Kesmas: National Public Health Journal 7, no. 7 (February 1, 2013): 304. http://dx.doi.org/10.21109/kesmas.v7i7.28.

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Decreasing cognitive function of the elderly is one of the most common problems that might affect their quality of life. Music is an element that is believed to be able to contribute to the quality of life of the elderly. However, whether musical activities that are done throughout the life span related to cognitive function is unclear. In this research, we evaluated the association between lifetime musical activities and cognitive function. Fifty three older adults from three nursing homes in East Jakarta were selected and interviewed regarding their characteristics and lifetime musical activities. Cognitive function was also measured using Mini Mental State Examinaion (MMSE). The results of this preliminary study revealed that a possibility of an association between lifetime musical activities and cognitive function of the elderly was indicated. The result also showed that the participants who were not actively involved in musical activities during their lifetime were twice more likely to develop cognitive function impairment than the elderly who were actively involved in musical activities, after being adjusted by the characteristics. These correlational results suggest the beneficial effect of musical activities throughout the life span on cognitive functioning for the elderly.Penurunan fungsi kognitif merupakan salah satu masalah umum pada lanjut usia yang mampu memengaruhi kualitas hidup mereka. Musik merupakan sebuah elemen yang dipercaya mampu berkontribusi terhadap kualitas hidup mereka. Meski demikian, hubungan antara aktivitas musikal yang dilakukan sepanjang hidup dan fungsi kognitif lansia belum diketahui secara pasti. Pada penelitian ini, hubungan antara aktivitas musikal sepanjang hidup dan fungsi kognitif dievaluasi. Lima puluh tiga lansia penghuni panti tresna werdha di Jakarta Timur dipilih dan diwawancarai terkait karakteristik dan aktivitas musikal sepanjang hidup mereka. Fungsi kognitif juga diukur menggunakan MMSE. Hasil penelitian ini menunjukkan adanya kemungkinan asosiasi antara aktivitas musikal sepanjang hidup dan fungsi kognitif lansia. Hasil penelitian juga menunjukkan bahwa partisipan yang tidak aktif melakukan aktivitas musikal sepanjang hidupnya dua kali lebih berpeluang untuk mengalami gangguan fungsi kognitif dibandingkan dengan mereka yang aktif melakukan aktivitas musikal, sete-lah disesuaikan dengan karakteristiknya. Hasil korelasi ini mengisyaratkan pengaruh bermanfaat dari aktivitas musikal sepanjang hidup terhadap fungsi kognitif lansia.
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Gilmanov, Sergei A. "Psychological characteristics of abilities for musical improvisation." Yugra State University Bulletin 12, no. 1 (April 15, 2016): 116–23. http://dx.doi.org/10.17816/byusu2016121116-123.

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The article is devoted to the psychological characteristics of talent for musical improvisation. The author believes that the ability of musical improvisation grow out of general and special musical abilities, are formed and developed only in the improvisational activities based on the simultaneous integration and differentiation methods of presentation "semantic units" of improvisation. This improvisation goes to artistic image, in which there is "non-musical", socio-cultural content. The article presents data from several empirical studies of the author.
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Gooding, Lori, and Jayne M. Standley. "Musical Development and Learning Characteristics of Students." Update: Applications of Research in Music Education 30, no. 1 (September 1, 2011): 32–45. http://dx.doi.org/10.1177/8755123311418481.

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Development involves progressive changes in knowledge and abilities that occur across the life span. Current research on musical abilities suggests that the development of skills necessary for musicality begins in utero and continues through adulthood. Many of these skills, such as the ability to carry a tune, move in time to music, and respond emotionally to music, progress as part of normal cognitive maturation and development. Others, such as explicit musical knowledge and musical performance, require in-depth learning and practice for future musical development to occur. This article provides a compilation of key musical developmental milestones and learning characteristics from prebirth through adolescence gathered from the research literature. A brief summary of relevant information is provided, as well as charts outlining specific points from the literature.
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Huimin, Qi, Zhu Yongzhong, and Kevin Stuart. "Minhe Mangghuer Wedding Songs: Musical Characteristics." Asian Folklore Studies 58, no. 1 (1999): 77. http://dx.doi.org/10.2307/1178891.

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Wen, Yaping. "Musical characteristics of the baroque period." Искусство и образование, no. 5 (2021): 49–53. http://dx.doi.org/10.51631/2072-0432_2021_133_5_49.

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Krause, Amanda E., Simone Maurer, and Jane W. Davidson. "Characteristics of Self-reported Favorite Musical Experiences." Music & Science 3 (January 1, 2020): 205920432094132. http://dx.doi.org/10.1177/2059204320941320.

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Research supports the folk wisdom that individual preferences are tied to our experiences: we like what we know and as a result, we know what we like. Yet our understanding of the elements contained in lived examples of musical experiences that facilitate enjoyment and investment in music is little described. The current study recruited Australian residents ( N = 135) to complete an online survey, which asked them to describe their favorite musical experience with regard to its context and impact. The majority of favorite musical experiences involved listening to live music and performing. The descriptions provided indicated that these experiences resulted in layered emotional experiences, much more subtle than folk psychology would suggest. Further, thematic analysis results revealed that Gabrielsson’s Strong Experiences with Music Descriptive System adequately categorizes the elements of people’s favored experiences, with particular reference to general characteristics, bodily reactions, perceptual phenomena, cognitive aspects, emotional aspects, existential and transcendental aspects, and personal and social aspects. A wide variety of musical genres were involved, though pop, classical, rock, and hip-hop music featured predominately. By detailing key components which lead to favored musical experiences, the findings have implications regarding how musical engagement opportunities can be better designed to support continued musical investment, which has particular relevance for educational and community uses of music for fostering positive individual and community benefits.
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Bannister, Scott. "A survey into the experience of musically induced chills: Emotions, situations and music." Psychology of Music 48, no. 2 (September 24, 2018): 297–314. http://dx.doi.org/10.1177/0305735618798024.

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Musically induced chills, an emotional response accompanied by gooseflesh, shivers and tingling sensations, are an intriguing aesthetic phenomenon. Although chills have been linked to musical features, personality traits and listening contexts, there exists no comprehensive study that surveys the general characteristics of chills, such as emotional qualities. Thus, the present research aimed to develop a broad understanding of the musical chills response, in terms of emotional characteristics, types of music and chill-inducing features, and listening contexts. Participants ( N = 375) completed a survey collecting qualitative responses regarding a specific experience of musical chills, with accompanying quantitative ratings of music qualia and underlying mechanisms. Participants could also describe two more “chills pieces”. Results indicate that chills are often experienced as a mixed and moving emotional state, and commonly occur in isolated listening contexts. Recurring musical features linked to chills include crescendos, the human voice, lyrics, and concepts such as unity and communion in the music. Findings are discussed in terms of theories regarding musical chills, and implications for future empirical testing of the response.
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Dissertations / Theses on the topic "Musical characteristics"

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Heaton, Pamela Florence. "Musical cognition in children with autism." Thesis, Goldsmiths College (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396246.

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Wang, Chao-hui. "Referentialism and musical characteristics in children's keyboard improvisation /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486474078050209.

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Walker, Timothy M. "Instrumental differences in characteristics of expressive musical performance." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092430692.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xii, 126 p.; also includes graphics. Includes bibliographical references (p. 118-126).
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Björkner, Eva. "Why so different? - Aspects of voice characteristics in operatic and musical theatre singing : Aspects of voice characteristics in operatic and musical theatre singing." Doctoral thesis, KTH, Tal, musik och hörsel, TMH, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4198.

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This thesis addresses aspects of voice characteristics in operatic and musical theatre singing. The common aim of the studies was to identify respiratory, phonatory and resonatory characteristics accounting for salient voice timbre differences between singing styles. The velopharyngeal opening (VPO) was analyzed in professional operatic singers, using nasofiberscopy. Differing shapes of VPOs suggested that singers may use a VPO to fine-tune the vocal tract resonance characteristics and hence voice timbre. A listening test revealed no correlation between rated nasal quality and the presence of a VPO. The voice quality referred to as “throaty”, a term sometimes used for characterizing speech and “non-classical” vocalists, was examined with respect to subglottal pressure (Psub) and formant frequencies. Vocal tract shapes were determined by magnetic resonance imaging. The throaty versions of four vowels showed a typical narrowing of the pharynx. Throatiness was characterized by increased first formant frequency and lowering of higher formants. Also, voice source parameter analyses suggested a hyper-functional voice production. Female musical theatre singers typically use two vocal registers (chest and head). Voice source parameters, including closed-quotient, peak-to-peak pulse amplitude, maximum flow declination rate, and normalized amplitude quotient (NAQ), were analyzed at ten equally spaced subglottal pressures representing a wide range of vocal loudness. Chest register showed higher values in all glottal parameters except for NAQ. Operatic baritone singer voices were analyzed in order to explore the informative power of the amplitude quotient (AQ), and its normalized version NAQ, suggested to reflect glottal adduction. Differences in NAQ were found between fundamental frequency values while AQ was basically unaffected. Voice timbre differs between musical theatre and operatic singers. Measurements of voice source parameters as functions of subglottal pressure, covering a wide range of vocal loudness, showed that both groups varied Psub systematically. The musical theatre singers used somewhat higher pressures, produced higher sound pressure levels, and did not show the opera singers’ characteristic clustering of higher formants. Musical theatre and operatic singers show highly controlled and consistent behaviors, characteristic for each style. A common feature is the precise control of subglottal pressure, while laryngeal and vocal tract conditions differ between singing styles. In addition, opera singers tend to sing with a stronger voice source fundamental than musical theatre singers.

QC 20100812

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Swangviboonpong, Dusadee. "Thai court singing : history, musical characteristics, and means of transmission." Thesis, SOAS, University of London, 2000. http://eprints.soas.ac.uk/28802/.

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This thesis deals with various aspects of Thai court singing, which is now widely found outside the court as well. Aspects include: genres; history; vocal techniques; performance contexts; influence of speech-tones on vocal melody; sources of vocal melody; degree of improvisation and variation; text setting; and teaching methods. Thai court vocal melodies that are created from khoonmelodies will share the lug tog(structural notes) with their khoonmelodies. Just as each instrumental melody created in this way will have its own characteristics, so too will the vocal melody. Each composer will create a different vocal melody from the same khoon melody according to their stylistic school and their own individual aesthetic. Although vocal melodies are not improvised, they can still vary in performance with the thaan(style) of the singer. This thesis explores the degree to which individual variation is possible, and the nature of that variation. Tanese (1988) proposed melodic formulae for the way Thai court vocal melodies are affected by the speech-tones of the lyrics. This thesis not only examines and adds to Tanese's formulae, but also shows an application of these formulae in the examination of metabole in songs. Word positioning has important implications for the use of yyan (wordless vocalisation), which has its own particular functions within a song, for example, allowing ornamentation that is free from the constraints of speech-tones. Different chan (metrical levels) of Thai court songs make use of different patterns of word positioning, and the patterns within each chanvary according to the number of rhythmic cycles in each thoon (section). The influence of the kloonpoetic form is found to be fundamental. Oral transmission is still the mainstay of the teaching of Thai court singing. Recent attempts at government homogenisation of teaching theory and practice are a threat to variety of styles and approaches in contemporary singing. Future research will be needed to assess the effect of these measures as time elapses.
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Pai, Shih-Yu Jade. "Discovering musical characteristics of children's songs from various parts of the world." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/7207.

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Children’s songs are ubiquitous in every culture and every childhood. Children’s songs — songs composed, sung, or heard by children —share many musical characteristics, such as short phrases and a large number of repetitions. These similarities could be due to children’s external environment, including musical culture, and an internal impulse, or innate musicality. This study compares the musical characteristics of one hundred children’s songs from various parts of the world to further understand what characteristics are shared and what are unique to a song or region. Studies of children’s music have been made by scholars from various fields, and hence different emphases: psychologists focused on the developmental process, ethnomusicologists studied children’s songs as a cultural component, and music educators were interested in children’s musical ability. Some studies also analyzed children’s songs’ structure, but often within the confines of a culture or even classroom. In this study, children’s songs of various cultures are transcribed and analyzed. The analysis uses a comparative method inspired by Alan Lomax’s cantometrics. Five musical properties — tonality, meter, melody, structure and grouping, and means of ending — are analyzed in each song, and similar results are grouped and counted in order to have an idea of the abundance of a particular characteristic within the sample. The results suggest that children’s songs in general share certain characteristics, but there is also much dissimilarity. Scale and meter appear to have a strong regional distribution, and small range is possibly a result of developmental limitation. It is still impossible to clearly disentangle the effects of cultural style and biological factors, but investigating the exceptions from the general brings us closer to the answer.
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Björkner, Eva. "Why so different? : aspects of voice characteristics in operatic and musical theatre singing /." Stockholm : School of Computer Science and Communication, Kungl, Tekniska högskolan (KTH), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4198.

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Wills, Adrienne M. "Relationships Among Musical Home Environment, Parental Involvement, Demographic Characteristics, and Early Childhood Music Participation." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_theses/243.

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The purpose of this study was to examine the musical home environment of preschool children aged 3 to 5 years enrolled in an early childhood music class. This study also examined how the musical home environment was affected by demographic characteristics, parental musical experience, and early childhood music instruction. Parents and primary caregivers (N = 103) of preschool children enrolled in three university-based early childhood music programs in Florida, New York, and Ohio were surveyed using a researcher-constructed measure, “Parents’ Use of Music with Preschool Students” (PUMPS). The PUMPS was intended to gather data related to demographic characteristics of the sample, participants’ experiences in early childhood music programs, the personal music experience of participants and information about how music was used in the home. Participants demonstrated that they provided a rich musical home environment for preschool children, having a variety of musical interactions with their children on a weekly basis (i.e., singing, listening to music, playing instruments, moving to music, utilizing music class activities and composition) and had a variety of musical materials in their homes including music instruments, musical toys, and music listening devices. Participants reported a higher frequency of singing, listening to music, and dancing in the home and a lower frequency of playing instruments, performing music class activities, and composing or reading music. Most of the sample had participated in music during their lifetime but the vast majority of the participants did not engage in musical activities at the time of the study. They did, however, value music and attend musical events. Factor analysis of the PUMPS subsets revealed three factors for musical home environment (Music Interactions, Musical Materials, and Child Attendance at Musical Events), two factors related to parental music experience (Music Participation and Value of Music), and one factor related to Early Childhood Music Experiences. Several independent variables significantly predicted musical home environment factors. Musical Interactions were related to adult gender, child age, ethnicity, and parent valuing music. Musical materials in the home were related to parental musical participation and ethnicity, while no significant predictors were found for child attendance at musical events. Ethnicity, child age, parental musical participation, and musical materials accounted for 37.8% of the variance in composite musical home environment scores, yielding a medium effect size.
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Woolley, Alan G. "The physical characteristics of mechanical pipe organ actions and how they affect musical performance." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/25337.

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Many organists believe that one of the main advantages of mechanical actions, i.e. those in which there is a direct and uninterrupted mechanical link from the key which the player moves to the pallet valve that admits air to the pipes, is that they allow the player to control the pallet and thus influence the initial sound of the pipe. This project looks at how the key and pallet actually move compared with what the player believes is happening. Measurements of the movement of the keys and, where possible, the pallets were made using LED and laser distance sensors, with the organists being asked to play in a variety of styles that they believed resulted in the keys moving at significantly different speeds. Sound recordings were made in order to compare the transients. The results showed that the key movement could be broken down into two distinct parts. The first part is the movement before pluck and thus before the pallet starts opening in which the flexibility of the action was taken up. The relative length of this movement varied very considerably even on short and rigid actions showing elongations when players believed that they were moving the key slowly. The movement after pluck, and thus during which the pallet was opening and admitting air to the pipes, did not vary greatly and in some cases, despite the player very deliberately trying to vary the speed, remained nearly constant. It could be clearly shown that attempts to vary the speed of key movement were, in fact, resulting in distinct rhythmic changes. The conclusion is that although players vary the time of the complete key movement, any difference occurs mostly in the part of the key movement before the pallet starts opening and thus cannot have any influence on the initial transient.
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Al-Badr, Ahmed. "The social context and textual/musical characteristics of the besta genre of southern Iraq." Thesis, University of Huddersfield, 2012. http://eprints.hud.ac.uk/id/eprint/19268/.

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Despite the extensive research by ethnomusicologists on a number of musical cultures, little attention has been given to Iraqi music. The term besta (literally, happiness) is used by Iraqis to signify the genre, which in formal Arabic is called ʾughniyeh. This thesis examines the besta genre in the community of the villages in Dhi-QAr province in southern Iraq. The aims of the study are: to place the songs of the area in their cultural context, classify the repertoire into different categories, develop an analytical methodology, analyse (recorded) examples of the besta song and archive the songs as rare examples f a somewhat endangered Iraqi genre. Two approaches were followed in order to achieve these objectives: an ethnographic approach, to study the local community and explore the social context of singing, and an analytical approach, to explore the musical characteristics of the besta songs. The analysis involves study of the songs’ texts and their melodic features. The results show that traditions are stronger than religious values in what is a completely male-dominated society, one in which women have little cultural role to play. Results of the analysis of the text identified poetic elements of the text such as the darmi as the dominant poetic metre, with parting as the main theme, and anguish and sadness as the central emotions of the texts. The results of the melodic analyses show that the intervallic structure of the songs’ melodies relies on a number of Iraqi and Arabic tetrachords, and that the Beyat tetrachord in particular is the most common among the songs. A number of structural characteristics of the melodies have been identified. Beside other patterns, the Maqsum is the most common accompaniment in the songs. It is hoped that the ethnographic and analytical approach developed in this study will lay the foundations for future studies of Iraqi and Arabic music.
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Books on the topic "Musical characteristics"

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Pearce, Tony Scott. Musical characteristics of Tanana Athabascan dance songs. Fairbanks, Alaska: T.S. Pearce, 1985.

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Thai classical singing: Its history, musical characteristics, and transmission. Aldershot, Hampshire, England: Ashgate, 2003.

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The American musical and the formation of national identity. Princeton, N.J: Princeton University Press, 2004.

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Interpreting the musical past: Early music in nineteenth-century France. New York: Oxford University Press, 2005.

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Jan, Steven B. Aspects of Mozart's music in G minor: Toward the identification of common structural and compositional characteristics. New York: Garland, 1995.

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Petrás, János. Kárpátok zengjetek!: Petrás Jánossal beszélget Benkei Ildikó. Budapest: Kairosz, 2010.

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Trsan, Văn Chi. Tìm hiteu ckai lương: Tâm tình ngưxoi Lục Tkinh : bút khkao. Gardena, CA: Văn Mwoi, 2005.

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Race, music, and national identity: Images of Jazz in American fiction, 1920-1960. Madison [N.J.]: Fairleigh Dickinson University Press, 2008.

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Kuprina, Elena. Co-creation in music and music education. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1019193.

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The monograph is devoted to the problem of musical co-creation, represents the artistic and dynamic system. The author considers the musical co-creation from the perspective of interdisciplinary approach, as the phase of the creative process, featuring self-contained characteristics, manifested in the "I" and "I'm Different" through specific regularities and principles. In music co-creation differentiated into spheres, types and forms, where the role of the ratio of the subjects and the performance of co-creative artistic projects are analyzed from the position of system dynamics. In music education operates a pedagogy of co-creation, manifesting the specifics through professional, psychological, reflective, and educational facets. Presented to the organizational form of the pedagogy of co-creation, from the perspective of information approach given the findings of a study of the influence of pop on the sensory system of the student of a musician-performer (the performer). Can be used in courses of the disciplines of the history of music, music psychology and music pedagogy, pedagogy of co-creation. Addressed to students of music schools, teachers, musicians of all disciplines, musicologists and cultural studies, researchers, creative processes, and a wide circle of curious readers.
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Why pamper life's complexities?: Essays on the Smiths. Manchester [Eng.]: Manchester University Press, 2010.

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Book chapters on the topic "Musical characteristics"

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Meyer, Jürgen. "Tonal Characteristics of Musical Instruments." In Acoustics and the Performance of Music, 45–128. New York, NY: Springer New York, 2009. http://dx.doi.org/10.1007/978-0-387-09517-2_3.

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Tereshchenko, Leonid, Lyubov’ Boyko, Dar’ya Ivanchenko, Galina Zadneprovskaya, and Alexander Latanov. "Characteristics of Music Playback and Visio-Motor Interaction at Sight-Reading by Pianists Depending on the Specifics of a Musical Piece." In Communications in Computer and Information Science, 169–82. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-05594-3_14.

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Fragkopoulos, Markos, Athanasios G. Malamos, and Spyros Panagiotakis. "Note Recognizer: Web Application that Assists Music Learning by Detecting and Processing Musical Characteristics from Audio Files or Microphone in Real-Time." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 403–12. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76908-0_39.

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Tarjano, Carlos, and Valdecy Pereira. "Neuro-Spectral Audio Synthesis: Exploiting Characteristics of the Discrete Fourier Transform in the Real-Time Simulation of Musical Instruments Using Parallel Neural Networks." In Artificial Neural Networks and Machine Learning – ICANN 2019: Text and Time Series, 362–75. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-30490-4_30.

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Toft, Robert. "Microphone Characteristics." In Recording Classical Music, 31–44. New York, NY: Routledge, 2020.: Focal Press, 2019. http://dx.doi.org/10.4324/9781351213783-4.

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Meyer, Jürgen. "Directional Characteristics." In Acoustics and the Performance of Music, 129–77. New York, NY: Springer New York, 2009. http://dx.doi.org/10.1007/978-0-387-09517-2_4.

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"Developmental Characteristics of Children, Grades K–3." In Musical Children, CD, 59. Routledge, 2015. http://dx.doi.org/10.4324/9781315663524-14.

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Baumgartner, Michael. "Referencing Music-Specific Genres and Genre-Specific Music." In Metafilm Music in Jean-Luc Godard's Cinema, 219–65. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190497156.003.0007.

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Abstract This chapter interprets metafilm music within a specific subcategory of quotation: musical referencing. Through referencing music-specific genres and genre-specific music, Godard explored in several of his 1960s films the music of the two popular Hollywood genres: musical comedy and film noir. In Une femme est une femme, he critically reflects on the Hollywood musical comedy by contradicting common Hollywood musical procedures. By alienating the familiar trope of Hollywood musical songs and dances, Godard accentuates the self-conscious artificiality of song-and-dance performances in musicals. He loosely follows the formulaic narrative strategy in classical Hollywood musicals, such as the self-reflexive model of the backstage musical, the love triangle, and the dual-focus narrative, as described by Rick Altman. A second investigation is devoted to the sci-fi noir thriller Alphaville, in which Godard converted Paul Misraki’s suspense score into a musical pastiche of film noir music. He requested from Misraki music that expressed the general mood of Alphaville at the expense of writing individual cues linked to specific narrative moments. By means of his somewhat unorthodox working method, Godard self-reflexively repurposed Misraki’s music for his sci-fi film noir reflection as a pastiched film noir score. He foregrounded the clichéd characteristics of Misraki’s paraphrasis of quintessential noir music as an ironic and imaginative reinterpretation of archetypical 1940s and 1950s noir B-movie music.
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Kellman, Noah. "What Is “Game Music”?" In The Game Music Handbook, 27–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938680.003.0003.

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Game music is an eclectic term, encompassing the many different musical genres that are used in video game scores. This chapter introduces readers to important game music history while seeking to define what musical characteristics are unique to game music. As composers found creative ways to work within the scope of this limited technology, unique challenges led to the conception of a new body of musical work that would later be referred to by the gaming world as “video game music,” or just “game music” for short. This chapter explores the history and development of game music as a genre. It focuses on analyzing how the limitations of previous gaming systems influenced composers to make specific musical choices, while also seeking to define what aesthetic characteristics are unique to video game music and how interactivity has led to new musical forms.
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Brinegar, Terri M. "Vocal and Musical Analysis." In Voices of Black Folk, 189–263. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496839251.003.0005.

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Chapter Four analyzes the specific repertoire and vocal styles sung by Nix and his congregants on his recordings and their basis in older religious material as heard in the early Black church. The analysis of the sermon texts clearly demonstrates Nix’s affiliation with racial uplift themes. Vocal and musical analysis of the sermons demonstrates Nix’s unique vocal characteristics and how they compare with traditional sounds of the folk spirituals and other early vocal practices and serve as markers of traditional African-American vocal aesthetics.
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Conference papers on the topic "Musical characteristics"

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Hu, Ying, and Guizhong Liu. "Dynamic characteristics of musical note for musical instrument classification." In 2011 IEEE International Conference on Signal Processing, Communications and Computing (ICSPCC). IEEE, 2011. http://dx.doi.org/10.1109/icspcc.2011.6061734.

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Qiu, Fangya. "Musical Characteristics and Language Skills of Chinese Musical Jinsha." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.114.

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Boonmatham, Pheerasut, Sunee Pongpinigpinyo, and Tasanawan Soonklang. "Musical-scale characteristics for traditional Thai music genre classification." In 2013 International Computer Science and Engineering Conference (ICSEC). IEEE, 2013. http://dx.doi.org/10.1109/icsec.2013.6694784.

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"Study on Aesthetic Characteristics of Musical Performance." In 2018 4th International Conference on Economics, Management and Humanities Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ecomhs.2018.087.

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Zhao, Yunyan, Lisi You, and Wenguang Li. "Morinhuur Music Visualization Device Design." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001961.

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Using Morinhuur music as the research object of intangible cultural heritage music visualization, based on the synaesthetic effect, through research and analysis of Morinhuur music’s historical development, performance skills, and musical characteristics, using focus interviews, questionnaire surveys and other qualitative and quantitative methods to collect organized into visual data charts such as Sankey Diagrams. The visual aspects of the retrieved different music information are applied to the visualization device using the Processing programming language and the imaging technology of the Kinect equipment. A visual presentation of Morinhuur music is proposed, and visual design is used to enhance the digital protection and transmission of intangible cultural heritage music.
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Gorodscy, Fábio, Guilherme Feulo, Nicolas Figueiredo, Paulo Vitor Itaboraí, Roberto Bodo, Rodrigo Borges, and Shayenne Moura. "Computer Music Research Group - IME/USP Report for SBCM 2019." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10443.

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The following report presents some of the ongoing projects that are taking place in the group’s laboratory. One of the noteable characteristics of this group is the extensive research spectrum, the plurality of research areas that are being studied by it’s members, such as Music Information Retrieval, Signal Processing and New Interfaces for Musical Expression.
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Middleton, Jonathan, Jaakko Hakulinen, Katariina Tiitinen, Juho Hella, Tuuli Keskinen, Pertti Huuskonen, Juhani Linna, Markku Turunen, Mounia Ziat, and Roope Raisamo. "Sonification with Musical Characteristics: A Path Guided by User-Engagement." In The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.006.

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Sonification with musical characteristics can engage users, and this dynamic carries value as a mediator between data and human perception, analysis, and interpretation. A user engagement study has been designed to measure engagement levels from conditions within primarily melodic, rhythmic, and chordal contexts. This paper reports findings from the melodic portion of the study, and states the challenges of using musical characteristics in sonifications via the perspective of form and function – a long standing debate in Human-Computer Interaction. These results can guide the design of more complex sonifications of multivariable data suitable for real life use.
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Kusumaningtyas, Indraswari, Raymond Christianto, and Gea Oswah Fatah Parikesit. "Sound directional characteristics of the bundengan musical instrument." In 179th Meeting of the Acoustical Society of America. ASA, 2020. http://dx.doi.org/10.1121/2.0001416.

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"Analysis of the Musical Characteristics of Berlioz Fantasy Symphony." In 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29119.

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Tadokoro, Yoshiaki, Masahiro Ito, and Masanori Natsui. "Phase Characteristics of Musical Instrument Sounds and Their Applications." In TENCON 2006 - 2006 IEEE Region 10 Conference. IEEE, 2006. http://dx.doi.org/10.1109/tencon.2006.343682.

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