Artículos de revistas sobre el tema "Mathematics – Songs and music"

Mathematics of music and sound production brings to bear the physical and practical application of Mathematics in the field of Music. The composition of songs involves the principle of key scaling, their respective interval as calculated with the aid of an appropriate key division which suites the generality of songs composed in different keys with the keyboard. Melodies, harmonies and rhythms produced in the stage of rendition is characterized by transposition and inversion of key to suite each song. With the aid of keyboard, elements of Symmetric group are used to compose songs.

This article reports on a research project aimed at developing and evaluating a song album as an instructional material for the teaching and learning of basic Arabic language in Malaysian primary schools. Generally, the procedure for undertaking the research project could be divided into four different stages, namely (i) the gathering of ideas for the music arrangement for all the nine songs in the album; (ii) development of the song album; (iii) evaluation of the developed song album; and(iv) improvement and refinement of the song album. The results show that characteristics of suitable music arrangementfor the songs in the album are as follows: (i) modern music instruments combined with local and Arabic traditional music instruments so as to make the compositions more unique and interesting, (ii) the use of a variety of rhythmic styles;combining modern and traditional elements including middle east rhythm, (iii) employment of the combination of adult and children singers (iv) varied tempo with vibrant and energetic mood (v) take into account the possibility of combining singing of the songs with dance and movement activities. According to evaluation by the panel of experts, the songs in the albumareof good quality in both the aspects of singing and music arrangement. Meanwhile the results on the aspect of usability found that all of the songs in the album are attractive and suitable to be used as instructional material for the teaching and learning of basic Arabic language to year one pupils in Malaysian primary schools. The song album could facilitate Arabic language teachers to be more confident in carrying outsingingactivities in their classroom as outlined in the Year One Arabic language textbook published by the Ministry of Education. Consequently, by employing singing activities using the songs in the album could help to make their lessons more engaging, attractive and effective.

AbstrakPerkembangan teknologi informasi mempengaruhi kepopuleran musik dangdut. Teknologi internet mendorong banyaknya platform media sosial di segala aspek kehidupan masyarakat. Musik dangdut bertransformasi menjadi musik yang dapat diterima semua lapisan masyarakat karena adanya pengaruh media sosial seperti TikTok, Instagram, dan Youtube. Musik dangdut koplo tersaji dengan warna genre musik lain. Kepopuleran lagu dangdut koplo modern mendapatkan tempat tersendiri bagi siswa-siswi di SMPN 5 Kebumen. Fungsi lagu dangdut koplo moderen bagi mereka adalah sebagai sarana hiburan, sarana pendidikan, dan sarana ungkapan emosional. Lagu dangdut adalah hiburan untuk menghilangkan kepenatan setelah melaksanakan pembelajaran dan aktivitas sehari-hari. Lagu dangdut menjadi salah satu materi pembelajaran pada jenjang SMP. Melalui dangdut murid dapat mengapresiasi karya dan menambah pengetahuan unsur musik. Lebih lanjut, lagu dangdut juga memiliki lirik lagu yang menarik dan dapat meluapkan emosi yang sesuai dengan perasaan hati. AbstractThe development of information technology affects the popularity of dangdut music. Internet technology drives the number of social media platforms in all aspects of people's lives. Dangdut music has transformed into music that all levels of society can accept due to the influence of social media such as TikTok, Instagram, and Youtube. Dangdut Koplo's music is presented with the colors of other musical genres. The popularity of modern dangdut koplo songs has a special place for students at SMPN 5 Kebumen. The function of modern dangdut koplo songs for them is as a means of entertainment, educational means, and emotional expression. Dangdut songs are entertainment to relieve fatigue after carrying out learning and daily activities. Dangdut songs are one of the learning materials at the junior high school level. Through dangdut, students can appreciate works and increase their knowledge of musical elements. Furthermore, dangdut songs also have exciting lyrics and can evoke emotions that match the feelings of the heart.

The purpose of this scientific article is to prove the potential of Shakespeare’s poetry „Fear no More” for giving rise to multiple interpretations in a genre of a solo song. Methods. This study is based on a historical approach, which is used to determine the types of musical genres present in Shakespeare’s plays and trace the history of setting playwright's texts by British composers. The systems approach, comparative and analytical methods are used by investigator to determine the specifics of the form and music interpretation of texts. The scientific novelty of this investigative article is determined by the fact that the comparative analysis of the songs „Fear no more the heat o’ the sun” by British composers of the beginning of the XX century R. Quilter and G. Finzi is, for the first time, carried out and described in this publication. The main target, in this case, is to link the literary component to the music of the song and confirm the possible existence of multiple interpretations of songs from Shakespeare’s plays. Conclusions. Nearly all Shakespeare's plays call for music of some kind which often bears a direct connection to the action of the play; thus is created by the characters on stage in the form of a song. These songs often transgress the boundaries of the plays becoming independent works that are combined together and published as such in separate opuses. For instance, Shakespeare’s song „Fear no More” from the play „Cymbeline” exists in more than a hundred of music versions; the most well known of which are those by R. Qulter and G. Finzi. Comparison of these interpretations proofs the great intrinsic value of Shakespeare’s texts and potential for producing its various readings, as well as the possibility of existence of these songs beyond the narrow confines of the stage action.

The purpose of this study was to explore the integration of music and movement elements into young children’s mathematics classrooms. Using a qualitative approach, this research was a case study. Three teachers were purposely selected as participants for this study. The teachers were interviewed to gain information about the songs and movements they chose to employ into their instruction. Additionally, their lessons were observed to attain the ways they incorporated music and movement. These sessions were video recorded to gain a rich picture of the songs and movements incorporated as well as the benefits of such practice in the teaching and learning of mathematics. The findings from the interviews (with teachers), classroom observations, and photographs exhibited that the teachers used familiar, easy and simple songs to be incorporated in their instruction. It was also evident that embedding music and movement activities into young children's mathematics lessons had a positive impact on the students' learning of early mathematics. The students focused on what the teachers were doing and repeating after them. This enhanced their mathematics learning. The implication of this study is that mathematics instruction should be employed in a fun yet meaningful way by incorporating music and movement activities as teaching and learning activities. More importantly, is that children learn mathematics with understanding.

This manuscript endeavors to establish a framework for the mapping of music onto a three-dimensional structure. Our objective is to transform the guitar choruses of Beatles songs into curves, with each chorus corresponding to its respective curve. We aim to investigate and characterize the intricacy of each song by employing mathematical techniques derived from differential geometry, specifically focusing on the total curvature of the chorus curve. Given that a single song may possess varying chord progressions in different verses, the performer can determine the geometric representation they aim to convey through the number of loops and the direction of the curve. The overarching objective of our study is to enable viewers to identify specific songs or motives by visually examining an object and exploring its geometric properties. Furthermore, we posit that these ideas can provide composers with a fresh perspective on their own musical compositions while also granting non-professional audiences a glimpse into the intricacies involved in the process of composing.

The subject of the research is the study of the specific stylistic features of the songwriting of the outstanding composer Suleiman Aleskerov, who played an exceptional role in the prosperity and development of the musical art of Azerbaijan, the study of the role of vocal music in the composer's work, the identification of the main features of his songs by analysis. The object of the study is the songwriting of Suleiman Aleskerov. In this context, the object of the study is to study the composer's attitude to the sources of song creativity, to the sources of folk music, to identify the national characteristics of the musical language of his songs, its originality. His songwriting is analyzed from the point of view of thematic and genre diversity, special attention is paid to the study of musical form, rhythm, mugham, melodic language of his songs. The main results of the study are that, despite the fact that Aleskerov's songs differ in musical structure, textural features, the definiteness of the national mugham is clearly expressed in them, the content of the melody, the intonation core is revealed. The author's special merits in studying the topic are that the main feature manifested in the melodies of songs is associated with the appearance of such mughams as shchur, segah, shushtar, bayat shiraz, which occur above the harmonic structure of a major or minor. Although his lyrical songs show the qualities inherent in folk songs, they differ in musical language. So, here the peculiarities of the romance genre come to the fore, and not folk songs. This is especially evident in the widely developed, smooth melody, which in its style is associated with mugham. The scientific novelty of the research lies in the fact that the songwriting of Suleiman Aleskerov was studied, the musical language of his songs and the stylistic features of the composer were revealed. The composer's songs in various genres were analyzed, the themes of his work, genre features, creative attitude to folk music and mugham were revealed.

Based on over 50 years of the author watching Liverpool FC (LFC) football matches, this article examines the use of songs in and around such matches, locating it within wider debates about the use of song at football matches.The development of modern media’s relationship to football will be considered in three main areas – the importance of television in the modern age, the availability of songs on the internet and the use of the sound systems to control fan behaviour at matches. The article aims to provide some insights in to one of the most important – but often neglected – aspects of football fandom. It does so by examining the place of Liverpool Football Club (LFC) within the city, football and the media, fandom, singing at football matches and the particular nature of LFC songs. The article concludes by suggesting that it is in the singing of songs that true football fandom is found.Keywords: singing at football matches, Liverpool FC, popular music, football fandom, Spion Kop

The subject of the study is the historiography of the study of Ossetian song folklore. The object of the study is mytho-religious songs. The purpose of the article is to systematize information sources reflecting the history of the development of research interest in the song folklore of Ossetians, paying special attention to mytho-religious songs. With the help of source research methods, handwritten collections, music collections, notes of individual samples in music publications, descriptions of audio recordings, research works were identified. This article discusses issues related to the activities of various collectors of Ossetian musical folklore. The author traces the stages of the formation of scientific thought, and the development of collecting activities. The most significant works are highlighted, including samples of mytho-religious songs of Ossetians. The main conclusions of the study relate to observations on the activities deployed in the 1920s - 1930s and related to various collectors. The analyzed data indicate an undoubted interest in the Ossetian song tradition. Thanks to folklore and ethnographic expeditions of the 1920s, an impressive set of materials of Ossetian song folklore was collected, but it is worth noting the careless attitude of collectors to the poetic text. Quite often it is presented in a distorted version, in the volume of one stanza, and sometimes it is completely absent. The breakthrough in collecting detail was the appearance of the phonograph. Phonographic recordings made in the 1930s. they still make up the main body of materials on the folk musical culture of Ossetians. A special contribution of the author to the study of the topic is the systematization of information sources on mytho-religious songs, which determines the scientific novelty of this research work.

Formulation of the problem. The present article is devoted to the mental differences of the Chinese song tradition and analyzed the peculiarities of fret structures upon harmonizing the melody by modern authors. The musical stylistics of the Chinese folk song is based on the synthesis of the intonation (melodic, fret and rhythmic) features of traditional Chinese music with the lexemes of European classical music. Its content reveals the analysis of a major-minor functional system, qualitative (bar) rhythmics, containing genre formulas and techniques of the textural presentation (various forms of polyphony). The purpose of the article is to reveal the stylistic originality of the Chinese song – on the one hand; and on the other hand, to reveal the fret-harmonic features relating Chinese music with the folklore of other nations. For the European ear, the fret-harmonic originality of the Chinese melos, in addition to pentatonics, is marked by synthesizing various elements of the systems of the pitch-high organization which have set in the history of European music: archaic, modal, and tonal-functional. The relevance of the topic is due to the absence in the European theory of melody (“melos”, in the terminology by B. Asafiev) of the national-characteristic component. The study of the fret-harmonic content of the Chinese melos will partially fill in this gap. The purpose of the study is to reveal the stylistic originality of the Chinese song – on the one hand, and on the other, to discover the fret-harmonic parameters that relate Chinese music to the folklore of other nations. The object of the study is China’s song tradition in the diversity of authentic and modern samples of materials existing in the notation; the subject is the melos of the Chinese folk song in its relations with other principles of intonation. The presentation of the main material. In most of the samples of modern Chinese folk songs, the modal principle of the pitch-high organization, characteristic of folk music and European professional music of the pre-classical period, is combined with the tonal system of European classical music. For example, in “The Shepherd’s Song” exposition, not so much a single tonal center orientation (according to the European classical romantic tradition) was revealed, but rather the basis on several equal tones-foundations: h, e, a and d. If the fret-harmonic content of the entry is to be viewed from the angle of modality, then the fret structure of this tune turns out to be a mixed diatonics, combining the scale of the Ionian frets from c and the Dorian frets from d with the step rising in cadence VII, and from the point of view of the tonal principle of the pitch-high organization – as a movement from the tone C-dur to the tone d-moll. In song 15, the modal principle of the pitch-high organization is absent, although elements of the modality can be heard due to the use of side triads and seventh chords. With all the variety of melodic and rhythmic formulas, genre semantics, it is precisely the fret-harmonic content of selected song samples that reveals the general principles of the pitch-high organization. This is the archaic diatonic, based on the frets of the traditional musical cultures of the world; modal principle; European functional harmonic system; elements of the extended tonality from the experience of the music of the turn of the 19th and 20th centuries. Their interaction constitutes the fret-harmonic specificity of the Chinese folk song tradition. The harmonization of the melodies selected as the material differs from the original by the presence of authorship; the fret-harmonic content, first of all, serves as its embodiment. Conclusion. Composers – authors of the modern arrangement of authentic melodies – are in search of an organic synthesis of various pitch-high systems and principles of organization. Among the main ones there is the archaic diatonics, based on the frets of the traditional musical cultures of the world; the modal principle; European functional harmonic system; the elements of an extended tonality borrowed from the experience of the music of the turn of the 19th and 20th centuries. By the nature of the interaction of the components the analyzed samples of Chinese melodies can be divided into several groups: 1) the songs in which the modal principle of the pitch-high organization prevails over the tone-functional one; 2) the songs, where both of these principles act simultaneously: for example, modal elements arise on a tonal basis; or on a modal basis – orientation to a single tonal center; 3) the cases in which the tonal-functional principle in melodies unambiguously prevails over the modal one; 4) the songs in which these principles “divide the spheres of influence”, acting in different sections of the form; 5) the samples of songs where the modal and tonal principles are in the organic unity, and they are not separated in time and do not suppress each other. Thus, the Chinese folklore material can be perceived by the ear, brought up in other musical traditions, quite adequately thanks to the reliance on the pitch-high systems that are universal for all musical cultures.

Music plays an integral role in our lives as the most popular type of recreation. With the advent of new technologies such as Internet and portable media players, large amount of music data is available online which can be distributed and easily made available to people. Enormous amount of music data is released every year by several artists with songs varying in features, genre and so on. Because of this, a need for reliable and easy access of songs based on user preferences is necessary. The recommender system focuses on generating playlists based on the physical, perceptual and acoustical properties of the song (content based filtering approach), or on commonalities between users on a particular basis like ratings or user data history (collaborative filtering). The system thus developed is a hybrid music recommender tool which creates a user centric suggestion system accompanied by feature extraction which in turn enhances the accuracy of music recommendations.

It is one of the main goals of personalized music recommendation system that how to accurately recommend the songs in line with users’ interests in the huge music library. In view of the above problems, this study proposes a personalized music recommendation method based on convolutional neural network. First, this study defines a training set containing potential musical characteristics and, combined with the depth of the belief network, design a music information prediction model and the research in the music-type classification method with different dimensions. Based on selecting four different kinds of music information better describing the underlying characteristics of 40D feature vector to every song music composition, the music feature set is constructed. Then, the CNN (convolutional neural network), which is widely used in audio field, is used as the music information prediction model, and its structural parameters are redesigned to complete the multidimensional music information prediction, which solves the cold start problem to some extent.

Shanbei folk song, an art form full of flavor and emotion, carries the deep historical and cultural heritage of the Shanbei region. It is not only a form of music, but also a kind of emotional communication, a kind of cultural communication. Songs are emotional bridges across cultures and languages, and through translation, the emotions and life experiences of the people of northern Shaanxi can be shared with people all over the world. By translating northern Shaanxi folk songs into English, more people can understand and appreciate this unique art form, thus better spreading traditional Chinese culture. However, when translators try to translate them into English, many difficulties and challenges follow, such as language barriers and cultural differences. Therefore, how to correctly deal with the challenges and accomplish high-quality translation is the key concern of every translator. Based on this, this paper elaborates on the specific path of English translation of Shaanxi folk songs from the perspective of translation aesthetics.

The growth and popularity of streaming music have changed the way people consume music, and users can listen to online music anytime and anywhere. By integrating various recommendation algorithms/strategies (user profiling, collaborative filtering, content filtering, etc.), we capture users’ interests and preferences and recommend the content of interest to them. To address the sparsity of behavioral data in digital music marketing, which leads to inadequate mining of user music preference features, a metric ranking learning recommendation algorithm with fused content representation is proposed. Relative partial order relations are constructed using observed and unobserved behavioral data to enable the model to be fully trained, while audio feature extraction submodels related to the recommendation task are constructed to further alleviate the data sparsity problem, and finally, the preference relationships between users and songs are mined through metric learning. Convolutional neural networks are used to extract the high-level semantic features of songs, and then the high-level semantic features of songs extracted from the previous layer are reformed into a session time sequence list according to the time sequence of user listening in order to build a bidirectional recurrent neural network model based on the attention mechanism so that it can reduce the influence of noisy data and learn the strong dependencies between songs.

Ethnomathematics, the study of the cultural and social aspects of mathematics, has a connection to the study of music and can be useful in understanding the composition of music. Mathematics can also be used in the composition and education of music. The relationship between mathematics and music is not universally accepted, with some suggesting a strong connection and others finding minimal support for the idea. Ethnomathematics can help to make mathematics more relevant and meaningful for students, as well as reflecting the cultural diversity of classrooms, by incorporating it into the mathematics curriculum. This study aims to review the literature on the connection between ethnomathematics and music and to suggest ways in which the two fields can be connected in the classroom. (François & Pinxten, 2011; Hall, 2007; Indrawati et al., 2021; Sugianto et al., 2019), and Indrawati et al. (2021) all investigate the relationship between mathematics and various fields, such as traditional Indonesian art, multicultural education, the subfield of etnowiskunde, and Surabaya regional songs. These works emphasize the significance of cultural and aesthetic traditions in mathematics instruction and learning. By embracing such varied viewpoints, students can obtain a deeper grasp of the topic. These examples highlight the importance of integrating mathematics with other disciplines in order to expand and broaden its understanding and application.

With people’s pursuit of music art, a large number of singers began to analyze the trend of music in the future and create music works. Firstly, this study introduces the theory of music pop trend analysis, big data mining technology, and related algorithms. Then, the autoregressive integrated moving (ARIM), random forest, and long-term and short-term memory (LSTM) algorithms are used to establish the image analysis and prediction model, analyze the music data, and predict the music trend. The test results of the three models show that when the singer’s songs are analyzed from three aspects: collection, download, and playback times, the LSTM model can predict well the playback times. However, the LSTM model also has some defects. For example, the model cannot accurately predict some songs with large data fluctuations. At the same time, there is no big data gap between the playback times predicted by the ARIM model image analysis and the actual playback times, showing the allowable error fluctuation range. A comprehensive analysis shows that compared with the ARIM algorithm and random forest algorithm, the LSTM algorithm can predict the music trend more accurately. The research results will help many singers create songs according to the current and future music trends and will also make traditional music creation more information-based and modern.

Music listening helps people not only for entertainment, but also to reduce emotional stress in their daily lives. People nowadays tend to use online music streaming services such as Spotify, Amazon Music, Google Play Music, etc. rather than storing the songs on their devices. The songs in these streaming services are categorized into different emotional labels such as happy, sad, romantic, devotional, etc. In the music streaming applications, the songs are manually tagged with their emotional categories for music recommendation. Considering the growth of music on different social media platforms and the internet, the need for automatic tagging will increase in coming time. The work presented deals with training the deep learning model for automatic emotional tagging. It covers implementation of two different deep learning architectures for classifying the audio files using the Mel-spectrogram of music audio. The first architecture proposed is Convolutional Recurrent Model (CRNN) and the second architecture is a Parallel Convolutional Recurrent Model (Parallel CNN). Both the architectures exploit the combined features of Convolutional and Recurrent layers. This combination is used to extract features from time and frequency domains. The results with accuracies in the range of 51 to 54 % are promising for both models for a small dataset of 138 songs, considering the large datasets required for training deep learning models.

The face is an important aspect in predicting human emotions and mood. Usually the human emotions are extracted with the use of camera. There are many applications getting developed based on detection of human emotions. Few applications of emotion detection are business notification recommendation, e-learning, mental disorder and depression detection, criminal behaviour detection etc. In this proposed system, we develop a prototype in recommendation of dynamic music recommendation system based on human emotions. Based on each human listening pattern, the songs for each emotions are trained. Integration of feature extraction and machine learning techniques, from the real face the emotion are detected and once the mood is derived from the input image, respective songs for the specific mood would be played to hold the users. In this approach, the application gets connected with human feelings thus giving a personal touch to the users. Therefore our projected system concentrate on identifying the human feelings for developing emotion based music player using computer vision and machine learning techniques. For experimental results, we use openCV for emotion detection and music recommendation.

Accurately quantifying the goodness of music based on the seemingly subjective taste of the public is a multi-million industry. Recording companies can make sound decisions on which songs or artists to prioritize if accurate forecasting is achieved. We extract 56 single-valued musical features (e.g. pitch and tempo) from 380 Original Pilipino Music (OPM) songs (190 are hit songs) released from 2004 to 2006. Based on an effect size criterion which measures a variable's discriminating power, the 20 highest ranked features are fed to a classifier tasked to predict hit songs. We show that regardless of musical genre, a trained feed-forward neural network (NN) can predict potential hit songs with an average accuracy of Φ NN = 81%. The accuracy is about +20% higher than those of standard classifiers such as linear discriminant analysis (LDA, Φ LDA = 61%) and classification and regression trees (CART, Φ CART = 57%). Both LDA and CART are above the proportional chance criterion (PCC, Φ PCC = 50%) but are slightly below the suggested acceptable classifier requirement of 1.25*Φ PCC = 63%. Utilizing a similar procedure, we demonstrate that different genres (ballad, alternative rock or rock) of OPM songs can be automatically classified with near perfect accuracy using LDA or NN but only around 77% using CART.

The following interview with Austrian composer Werner Schultze presents the composer’s biography and artistic evolution. The composer describes his musical style, his interest in other disciplines, and his efforts to conjoin different branches of knowledge together with music and to give each one of them a musical interpretation. Thereby, his efforts result in such striking phenomena as “Philosophy in Music, “Theology in Music,” “Mathematics in Music,” each of these categories becomes realized by original highly-imaginative musical compositions, such as “Lull” (devoted to the medieval mystic Ramon Lull), “Schopfunggesange” (“Songs to the Creation of the World”), “Franziscus” (honoring St. Francis of Assissi), “Anchibasie” (devoted to the Greek philosopher Heraclitus), “Sokrates” (written about the life and death of Socrates, according to Plato’s texts) and many others.

This Paper proposes method to recommend a set of songs based on the facial emotion state of the user. Emotion state of the user is detected with the help of google mobile vision SDK. The detected emotion state is fed to Expression-X algorithm that would sort the music (based on emotion value is keyed in) and generates a playlist which suites the emotion state of user. Since emotions are calculated based on the facial expression of a user, achieving 100% accuracy is undoubtedly hard as everyone has their own way of expressing emotions facially, with repetitive testing we have achieved 70–75% success rate in detecting the rite emotion state of the user, and generating the suitable set of song recommendation.

Mathematics students used memory strategies. The objective of the research was to find out the use of memory strategies by mathematics students. This research used descriptive qualitative method. The sample of this research was 10 mathematics students in the academic year 2022-2023. The findings showed the learners had different approaches to applying associating and elaborating strategy. It depended on their learning goals and preferred learning styles. Learning from social media and movies was used to increase vocabularies, and learning from music was used to pronounce English correctly. The learners used a mental picture by remembering the situation on social media such as Facebook, Instagram, movies, songs, or situations when playing a game

In today’s real-world, estimation of the level of difficulty of the musical is part of very meaningful musical learning. A musical learner cannot learn without a defined precise estimation. This problem is not very basic but it is complicated up to some extent because of the subjectivity of the contents and the scarcity of the data. In this paper, a lightweight model that generates original music content using deep learning along with generating music based on a specific genre is proposed. The paper discusses a lightweight deep learning-based approach for jazz music generation in MIDI format. In this work, the genre of music chosen is Jazz, and the songs selected are classical numbers composed by various artists. All the songs are in MIDI format and there might be differences in the pace or tone of the music. It is prudential to make sure that the chosen datasets that do not have these kinds of differences and are similar to the final output as desired. A model is trained to take in a part of a music file as input and should produce its continuation. The result generated should be similar to the dataset given as the input. Moreover, the proposed model also generates music using a particular instrument.

With the rapid development of social economy and Internet of Things, the society has entered the era of networking, digitalization, and intelligence, bringing great convenience to people's life; Internet of Things music system also has begun to get people's extensive attention. Due to the influence of such factors as strong music professionalism, complex music theory knowledge, and diverse changes, it is difficult to identify music features. In order to strengthen the user’s personal experience of the music system, the multimusic systems are interconnected through information technology to realize the connection between objects and people. The system uses an embedded processor to realize the central control module and then according to network standard the sensor network is built, through radio frequency identification (RFID) technology for light, sound, infrared sensor, temperature, and other sensors for information reading. Music selection logic is designed based on the theory of music psychology and user behavior log, so as to select the best music for users to improve their mood and improve their life quality and work and study efficiency. At the same time, the system uses voice recognition technology to enhance user interaction, through the system, to provide the website to share their own music data and comments on songs and view song information, and the system runs stably and can collect high quality music signals and correctly identify the characteristics of music form and emotional characteristics.

Numerical literacy is the ability needed to use number ideas and arithmetic skills in everyday situations as well as the ability to analyze quantitative data around children. This study aims to determine the effect of the intervention of singing favorite food songs on children's numerical literacy. Using a pretest-posttest experimental design with a control group, this study involved 20 children as research objects, consisting of 10 experimental class children and 10 control class children. The results of the study showed that singing activities with the theme of favorite food influenced the numerical literacy of kindergarten children. This singing activity attracts children's interest, thus showing a significant difference between the experimental class and the control class. Therefore, for further research, it is suggested that early childhood educators can always take advantage of artistic activities such as singing to attract children's interest in any learning. 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The era of modernity and information technology has entered people's lives, which has brought new challenges to innovative culture and art to a great extent, especially changing the relationship between traditional culture and pop music creation. In order to better automate music creation, this paper proposes a mixed model of cultural term evaluation of Chinese pop songs based on RITNN, which sets up RNN structure composition models of different channels. Through this method, a data reconstruction model of important cultural elements of simultaneous interpretation is established. The experiment fully proves that the pop music creation in traditional cultural materials not only integrates the essence of traditional cultural elements but also makes new creation. This scheme can evaluate the integration effect of traditional cultural elements in pop music creation.

The constraints in traditional music style transfer algorithms are difficult to control, thereby making it challenging to balance the diversity and quality of the generated music. This paper proposes a novel weak selection-based music generation algorithm that aims to enhance both the quality and the diversity of conditionally generated traditional diffusion model audio, and the proposed algorithm is applied to generate natural sleep music. In the inference generation process of natural sleep music, the evolutionary state is determined by evaluating the evolutionary factors in each iteration, while limiting the potential range of evolutionary rates of weak selection-based traits to increase the diversity of sleep music. Subjective and objective evaluation results reveal that the natural sleep music generated by the proposed algorithm has a more significant hypnotic effect than general sleep music and conforms to the rules of human hypnosis physiological characteristics.

The article is devoted to the analysis of the theme of labor in the Soviet mass song of the 1930s. The purpose of the study is to reveal the poetics of mass song labor in the context of the Russian musical culture of the 30s of the twentieth century. The author points out that the mass song is one of the most interesting phenomena of Soviet culture. It is rightly noted that being a product of the socialist era, the mass song was designed to solve the tasks of mobilizing a significant number of people for labor feat, without which it was unthinkable to successfully build a new life in the young Soviet state in the first decades of its formation after the October Revolution of 1917. It is stated that the song of those past years reflected the typical features of song art aimed at developing an optimistic spirit, strong will and self-confidence among Soviet citizens. The article examines the characteristic features of the mass song of the 1930s, analyzes the goals of its dissemination, the main images popularized in the texts of this type of songs, as well as their influence on the consciousness of the Soviet people. The theoretical significance of the research is determined by his contribution to the development of the problems of pop music art as an integral part of Russian culture.

The digitization, analysis, and processing technology of music signals are the core of digital music technology. There is generally a preprocessing process before the music signal processing. The preprocessing process usually includes antialiasing filtering, digitization, preemphasis, windowing, and framing. Songs in the popular wav format and MP3 format on the Internet are all songs that have been processed by digital technology and do not need to be digitalized. Preprocessing can affect the effectiveness and reliability of the feature parameter extraction of music signals. Since the music signal is a kind of voice signal, the processing of the voice is also applicable to the music signal. In the study of adaptive wave equation inversion, the traditional full-wave equation inversion uses the minimum mean square error between real data and simulated data as the objective function. The gradient direction is determined by the cross-correlation of the back propagation residual wave field and the forward simulation wave field with respect to the second derivative of time. When there is a big gap between the initial model and the formal model, the phenomenon of cycle jumping will inevitably appear. In this paper, adaptive wave equation inversion is used. This method adopts the idea of penalty function and introduces the Wiener filter to establish a dual objective function for the phase difference that appears in the inversion. This article discusses the calculation formulas of the accompanying source, gradient, and iteration step length and uses the conjugate gradient method to iteratively reduce the phase difference. In the test function group and the recorded music signal library, a large number of simulation experiments and comparative analysis of the music signal recognition experiment were performed on the extracted features, which verified the time-frequency analysis performance of the wave equation inversion and the improvement of the decomposition algorithm. The features extracted by the wave equation inversion have a higher recognition rate than the features extracted based on the standard decomposition algorithm, which verifies that the wave equation inversion has a better decomposition ability.

The paper presents a novel method for automatic segmentation of folk music field recordings. The method is based on a distance measure that uses dynamic time warping to cope with tempo variations and a dynamic programming approach to handle pitch drifting for finding similarities and estimating the length of repeating segment. A probabilistic framework based on HMM is used to find segment boundaries, searching for optimal match between the expected segment length, between-segment similarities, and likely locations of segment beginnings. Evaluation of several current state-of-the-art approaches for segmentation of commercial music is presented and their weaknesses when dealing with folk music are exposed, such as intolerance to pitch drift and variable tempo. The proposed method is evaluated and its performance analyzed on a collection of 206 folk songs of different ensemble types: solo, two- and three-voiced, choir, instrumental, and instrumental with singing. It outperforms current commercial music segmentation methods for noninstrumental music and is on a par with the best for instrumental recordings. The method is also comparable to a more specialized method for segmentation of solo singing folk music recordings.

We investigate correlations among pitches in several songs and pieces of piano music. Real values of tones are mapped to positions within a one-dimensional walk. The structure of music, such as beat, measure and stanza, are reflected in the change of scaling exponents of the mean square fluctuation. Usually the pitches within one beat are nearly random, while nontrivial correlations are found within duration around a measure; for longer duration the mean square fluctuation is nearly flat, indicating exact 1/f power spectrum. Some interesting features are observed. Correlations are also studied by treating different tones as different symbols. This kind of correlation cannot reflect the structure of music, though long-range power-law is also discovered. Our results support the viewpoint that the fundamental principle of music is the balance between repetition and contrast.

Many studies have shown a link between being competent in early mathematics and achievement in school. Early math skills have the potential to be the best predictors of later performance in reading and mathematics. Movement and songs are activities that children like, making it easier for teachers to apply mathematical concepts through this method. This study aims to develop audio-visual learning media in the form of songs with a mixture of western and traditional musical idioms, accompanied by movements that represent some of the teaching of early mathematics concepts. The stages of developing the ADDIE model are the basis for launching new learning media products related to math and art, and also planting the nation's cultural arts from an early age. These instructional media products were analyzed by experts and tested for their effectiveness through experiments on five children aged 3-4 years. The qualitative data were analyzed using transcripts of field notes and observations and interpreted in a descriptive narrative. The quantitative data were analyzed using gain score statistics. The results showed that there was a significant increase in value for early mathematical understanding of the concepts of geometry, numbers and measurement through this learning medium. The results of the effectiveness test become the final basis of reference for revision and complement the shortcomings of this learning medium. Further research can be carried out to develop other mathematical concepts through motion and song learning media, and to create experiments with a wider sample. Keywords: Early Mathematical Skills, Movement and Song Idiom Traditional, Audio-visual Learning Media References An, S. A., & Tillman, D. A. (2015). Music activities as a meaningful context for teaching elementary students mathematics: a quasi-experiment time series design with random assigned control group. 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Math anxiety is one of the causes of the low achievement of students in mathematics lessons. Guidance and counselling teachers need strategies for students who experience math anxiety. This study aims to determine an effective counselling approach to reduce students' math anxiety. This type of research is a single subject experiment with multiple baseline designs. The sampling technique used was purposive sampling. The research subjects were 2 individuals. The data analysis technique consisted of data analysis using Mann Whitney and qualitative time triangulation techniques. Based on the research results, cognitive behaviour therapy and music counselling can reduce students' math anxiety. Several techniques in cognitive behaviour therapy affect many aspects such as feelings, thoughts, physical sensations, and actions. In music counselling, the lyrics and lyrics of the songs shift the focus of the individual who was originally fixated on the fear of facing math problems to become calmer during math lessons

Songs are considered as an educational and a substantial dependable references used in teaching and learning, particularly the so - called foreign language learning that allows learners to adapt to the target language culture and to develop their language learning skills including: listening comprehension, reading comprehension, speaking and writing. Consequently, it can be said that the Francophone songs with the musical richness and resonance specifically facilities French language learning skills for all levels of education and achieve short and long terms predetermined educational language learning goals. In fact, language learning through songs method does not only include the cultural, musical, and heritage content of the language but rather includes the entire rich linguistic features that enable to master social linguistic field. It exceeds topographical and political limits to attain different cultures and communities’ interference. Additionally, learning through songs and music method plays an important role in French language learning. It represents one of the French languages most significant and reliable cultural and vernacular language learning reference. Out of French language teaching experience in Iraq, it is obvious that through songs and music language learning method represents such a vital element in the learning process that facilitates and supports the classroom linguistic and educational activities. The present study considers the advantages of teaching songs in French as a foreign language learning method ( FLE ) that helps the acquisitions of the oral and written language learning skills. Résumé La chanson, présente bel et bien en force dans notre vie quotidienne. Elle est considérée comme un document authentique de qualité à exploiter dans l’enseignement-apprentissage des langues surtout dites secondaires ou étrangère surtout. Le présent article traite la question de l'exploitation de la chanson comme support éducatif en classe de FLE. Un usage qui ne se limite pas uniquement aux apports linguistiques mais qui renvoie aussi à des réalités de la (des) culture(s) de la francophonie. Dans l’enseignement de la langue étrangère, la chanson est considérée comme un moyen pédagogique qui permet aux apprenants de s’accommoder à la culture de la langue-cible afin de développer les quatre compétences langagières (The four skills), à savoir celles de ; la compréhension de l’oral, la compréhension de l’écrit, l’expression de l’oral et celle de l’écrit. On peut dire donc que la chanson francophone, avec sa richesse musicale et ses qualités dites ludiques où se côtoient plaisir et désir. Cet avantage procure aux apprenants de différents âges et de différents niveaux une réception fortement positive, de laquelle peut émerger une multitude de manières plausibles d’exploitation d’un tel support en classe de FLE. L'important, serait donc, l’atteinte des objectifs finaux prédéterminés à long ou à court terme. En effet, la richesse de l’apprentissage par la chanson dépasse le contenu culturel, le musical, le patrimonial pour enfermer entre ses entrailles une variété linguistique qui en fait un champ fertile d’investigation dans le domaine de la sociolinguistique. Or, elle constitue un bon messager, voire un bon étrier qui efface les frontières politico-topographique et unit les peuples francophones par le bon brassage des cultures, et ce en partant de l’idée maitresse suivante « No mans land ». Par conséquent, l’enseignement-apprentissage de/par la chanson joue un rôle colossal dans la classe de FLE et qu'il ne faut guère hésiter à l'exploiter, car il permet une connaissance adéquate de la langue et de la culture françaises ou ce qu’on peut appeler la lexiculture. Lors de notre expérience dans le domaine de l'enseignement-apprentissage de la langue française en Irak, nous avons constaté l'utilisation du support en question comme élément fondamentale qui permet le soutien des activités linguistiques et pédagogiques en classe de FLE. Dans cet article, nous tenterions de mettre en exergue les avantages de l’enseignement-apprentissage de/par la chanson en classe de FLE, voire ses impacts prétendument favorables de ce support et son exploitation pour une motivation dynamique qui permet aux apprenants d’améliorer leurs compétences langagières sur tous les plans, qu’ils soient oraux ou écrits.

Abstract At his death, Milton Babbitt’s library contained nearly two thousand books, covering a huge array of disciplines and subjects. This literature offers intriguing new contexts for understanding Babbitt’s aesthetics and compositional practice. While scholars have pointed to the influence on his music of analytic philosophy, logic, information theory, and mathematics, I direct attention to the literary, poetic, and linguistic texts and theory that he read. I first outline the ways in which Babbitt’s choices and settings of poetry paralleled trends in postwar US literature departments. Then, drawing from the sources in his library, I describe the roles that ambiguity, cross-reference, allusion, and intertextuality play in three of his songs: The Virginal Book (1988), Quatrains (1993), and Pantun (2000). As I demonstrate, the structuralist poetics of Babbitt’s music results from his creative “misreadings” of Schenkerian analysis, generative-transformational linguistics, and mid-century literary theory on phonology, ambiguity, and intertextuality. Moreover, I argue that Babbitt’s allusive aesthetic should be understood in relation to the rich Jewish exegetical traditions that inspired mid-century theories of literary influence and “echo” (such as those proposed by Harold Bloom and John Hollander). Indeed, reading from Babbitt’s library suggests that for those within his milieu, a composerly imagination that relished and celebrated the proliferative interpretative possibilities of formal structural correspondence reflected a uniquely Jewish artistic and creative sensibility. Listening for these intertexts not only highlights the poetic tensions and allusive ambiguities in Babbitt’s musical structures and punning titles, but also nuances our understandings of postwar US serial aesthetics and ideology.

The article characterizes the musical tradition of Russian singers-wanderers, recorded by collectors in the north-western, northern and central provinces of Russia. For the first time, a comparative study is being carried out of the variants of memorial and zazdravny chants performed by the crossing kaliks and beggars. The study summarizes various sources – auditory recordings of the XIX century, publications of the XX century, unpublished folklore materials. The author draws attention to the little-known recordings of memorial and health chants recorded in the Novgorod, Yaroslavl, Tver, Pskov regions. The objectives of the article are to conduct a comparative study of the tunes of the "poor brethren", to identify their typological properties and intonational origins. The author considers the health and memorial chants as a special phenomenon of Russian folk music culture. The core of this tradition was a chant, which served as a musical formula, to which the calics of the transition sang various texts. On the basis of the facts given in the article, it can be concluded that the main version of the tune of the kalik of the transients is characterized by a one-verse composition and a 10-time basis of small-scale construction. In Russian folklore, the existence of this musical-structural type is limited only to the health and memorial songs of Kalik, spiritual poems and the ballad "Prince Mikhailo", and is not found in other genre spheres. However, the close intonation, rhythmic, compositional relationship of the tune with a wide range of folklore genres indicates that it was formed on the basis of compositional and melodic techniques developed in the practice of peasant song culture. The intonational affinity of the chant with church hymns, especially with the forms of liturgical reading, is an indicator of the closeness of the singing culture of the Kalik of the transients and the church musical tradition as a whole, and also reveals those properties that can be attributed to the category of universals of the Old Russian musical language based on speech intonations.

Face recognition technology has widely attracted attention due to its enormous application value and market potential. It is being implemented in various fields like security system, digital video processing and many such technological advances. Additionally, music is the form of art, which is known to have a greater connection with a person’s emotion. It has got an unique ability to lift up one’s mood. Relatively, this paper focuses on building an efficient music recommendation system which determines the emotion of user using Facial Recognition techniques. The algorithm implemented would prove to be more proficient than the existing systems. Moreover, on a larger dimension, this would render salvage of time and labor invested in performing the process manually. The overall concept of the system is to recognize facial emotion and recommend songs efficiently. The proposed system will be both time and cost efficient.

For the general public, composition appears to be professional and the threshold is relatively high. However, automatic composition can improve this problem, allowing more ordinary people to participate in the composition, especially popular music composition, so the music becomes more entertaining, and its randomness can also inspire professionals. This article combines deep learning to extract note features from the demonstration audio and builds a neural network model to complete the composition of popular music. The main work of this paper is as follows. First, we extract the characteristic notes, draw on the design process of mel-frequency cepstral coefficient extraction, and combine the characteristics of piano music signals to extract the note characteristics of the demonstration music. Then, the neural network model is constructed, using the memory function of the cyclic neural network and the characteristics of processing sequence data, the piano notes are combined into a sequence according to the musical theory rules, and the neural network model automatically learns this rule and then generates the note sequence. Finally, the ideal popular piano music scores are divided into online music lover scores and offline professional ratings. The score index is obtained, and each index is weighted by the entropy weight method.

The article is devoted to the development of Soviet popular music in the 1960s – 1980s. The author analyzed the song’s characteristics, identified the distinguishing features of the performer’s image and identified the main development trends. Internal and external influences on popular music are also highlighted. On the one hand, this is a factor of the penetration of Western pop culture, and on the other hand, the traditions formed under the influence of ideology within the USSR. For a long time, the official pop music was almost the only permitted option for musical creativity in the totalitarian system. It was characterized by a high level of performance skill and an orientation to the academic tradition, a predominance of a clear and refined melody, patriotic and intimate lyrics, as well as restraint and modesty of manners and a generally conservative image of the artist. At the same time, there was a search for new musical and textual forms, manifested in an appeal to more pronounced melodism, and artists’ experiments with their own style, when typical and strict clothes were replaced by bright and original outfits, the work of VIA was a vivid expression of this. As an alternative to the pop music, an amateur author’s song appears and develops. For the author’s song of the romantic direction, which arose during the period of Khrushchev’s liberalization, idealization of military achievements, travels and life trials, which were full of lyricism and light humor, was inherent in the romantic form; however, later, with the beginning of the collapse of the liberal course, the protest work of bards came to the fore – the themes of exposing cruelty began to dominate, irony and sarcasm appeared in the texts, and in some places the vocabulary was reduced. The image of a Soviet bard was formed – a poet-musician with a guitar. During Gorbachev’s socio-political transformations, the state, which used to be the main actor in musical culture, conceded its positions to young representatives of amateur creativity. That’s when disco and rock music become popular. Disco was characterized by an orientation towards rhythmic textures and themes of urban romances, while the manner and image of the performers were dominated by looseness and extravagance. Soviet rock was based on «big beat» and the social themes of the lyrics, and the artist’s style stood out for its simplicity and freedom. Pop music begins to depart from the formed tradition, adopting certain features of disco and even rock. More electronic music is appearing, lyrics are becoming less serious, expressing simpler meanings, and artists’ styles are becoming more casual.

Tribal lifestyle is deeply associated with their culture, art and craft. A larger mass of tribal people live in rural areas. In central India, the area of Vindhya, Satpuda and Aravali Mountain ranges, starching from east to west in the states of West Bengal, Orissa, Jharkhand, Telangana, Chhattisgarh, Madhya Pradesh, Maharashtra, Gujarat and Rajasthan form a big tribal belt. Gond, Bhil and Santhal are the three biggest tribal communities residing in this central tribal region of India. These three dominating groups are comparatively developed then other tribal groups of the area, though their overall economy is still based on agriculture and labor work resulting in economic backwardness. But, new generation is gradually, getting educated and exposed to salaried jobs and modern technology. Due to better communication, exposure, marketization and modernization their culture is changing with time and need. Though, they have strong bond with their indigenous culture, religion and art, which has kept their tradition and lifestyle intact with relevant changes. But, changing lifestyle and economy has affected their art and craft. Themes, raw material and technology are changing their forms, symbols and patterns. Paintings have shifted from walls to canvas and taken professional shape. Festive and regular enjoyment with dance and music had developed as stage performance. But, they have not at all lost touch with their roots and cultural awareness is again revitalizing their bond with traditional dance, music and other art and craft forms. Celebrations are still celebrated with tribal songs and dances within the village's open courtyard. There are also several cultural and culinary habits, languages, social structures inclusive of marriage, and varieties of consciousness.

There is a lot of cultural diversity in Indonesia, one of which is the art of the Songo Kelabang Patrol Music in Probolinggo, reflecting local cultural values. Education and culture are interrelated, and to preserve this art, an ethnomathematics approach is used to explore the relationship between culture, environment, and mathematics. This research aims to introduce and preserve this art through ethnomathematics as a mathematics learning medium, provide new insight into local culture, and create potential as a mathematics learning medium inside and outside the classroom. This qualitative research uses observation and literature study as data collection techniques. The results show that there are mathematical elements in the design of the Kelabang Songo Patrol transport cart and musical instruments, such as gongs, demands, genders, drums, and tong tongs. This connection can be used as an alternative mathematics learning media, especially in the context of geometry. This research is expected to provide benefits for students and educators, with suggestions for further research exploring aspects of musical rhythm and other activities as a means of student learning.Keywords: Ethnomathematics; Songo Centipede; Geometry

This article is a study of Zhuang Opera in the Guangxi Province in China. There are three general genres of Zhuang Opera, the analysis of selected musical pieces of these four types focuses on the music structure of Pingban melody, and the rhyme of the song texts --- Yaojiaoyun. This study is a pioneering work on the Zhuang Opera's musical form as there is currently no published work on the music of the opera and its association with related music categories. Except for very few research collections on national opera, most studies mainly focus on the history, literature, and folklore of traditional Zhuang Opera. In general, this study utilized new research methodologies producing different results from previous research, while at the same time, confirming earlier studies on the music and performance styles of the opera.

Now … “I play music. I sing. I talk, but mostly I do math,” Kenny Curtis replies when asked about his work as a disc jockey. “Mostly math” is probably not what his audience expects this twenty-six-year-old entertainer to say, but when he describes the careful counting, adding, and subtracting of times essential to live radio broadcasting, his description of his work during his time on the air seems accurate. The preparation for his radio show includes selecting music, taping segments, gathering information from a variety of sources, and organizing them all into a show that will entertain and inform his audience. Once on the air, he is a disc jockey, actor, public speaker, comedian, director, and manager of the radio's stage. While presenting the content of the show, he constantly checks his computer clocks showing the current time and the times for airing pretaped commercials, adds and subtracts the exact times of songs and taped reports, and adjusts his live segments so that the time required for the material and the time available between commercials match exactly. His accurate arithmetic in units of minutes and seconds is extremely important because he has only a ten-second window of time during which he must act on the computer's directions to play a commercial. He is a talented entertainer who uses both his college training in theater and mass communication and his basic mathematics skills during every minute of the five hours each day that he is on the air.

Due to the influence of factors such as strong music specialization, complex music theory knowledge, and various variations, it is difficult to identify music features. We have developed a music characteristic identification system using the Internet-based method. The physical sensing layer of our designed system deploys audio sensors on various coordinates to capture the raw audio signal and performs audio signal processing and analysis using the TMS320VC5402 digital signal processor; the Internet transport layer places audio sensors at various locations to capture the raw audio signal. The TMS320VC5402 digital signal processor is used for audio signal diagnosis and treatment. The network transport layer transmits the finished audio signal to the data base of song signal in the application layer of the system; the song characteristic analysis block in the application layer adopts dynamics. The music characteristic analysis block in the applied layer adopts dynamic time warping algorithm to acquire the maximal resemblance between the test template and the reference template to achieve music signal characteristic identification and identify music tunes and music modes based on the identification results. The application layer music feature analysis block adopts dynamic time regularization algorithm and mel-frequency cepstrum coefficient to achieve music signal feature recognition and identify music tunes and music patterns based on the recognition results. We have verified through experiments, and the results show that the system operates consistently, can obtain high-quality music samples, and can extract good music characteristics.

This study discovers a certain complementary relationship between different algorithms after conducting a comprehensive and in-depth analysis of proposal algorithms. This study proposes a big data music individualization proposal method based on big data analysis, which integrates user behaviour, behaviour context, user information, and music work information, based on traditional music proposal methods; improves the collaborative filtering proposal algorithm based on user behaviour; and calculates the semantic similarity between lyrics, as well as the song co-occurrence similarity based on the user’s music download history. Because the lyrics represent the thoughts and feelings that the song wishes to convey to the listeners, the proposal module is completed, and the music proposal system is realized, by combining the two different similar information, using the improved algorithm and the Hadoop distributed framework. The music similarity and label similarity are combined to alleviate the problem of cold start and data sparseness, and a mixed similarity calculation formula is proposed to calculate the similarity between music. The accuracy similarity of the big data music proposal model proposed in this study is improved by about 20% through experimental comparison when compared with the collaborative filtering model and the hybrid model. It reflects the efficiency, scalability, and stability of the music proposal system as well as the ability to meet users’ individual music needs.

The name of the St. Petersburg composer Yuri Alexandrovich Falik is known both in Russia and abroad. He has created a large number of compositions in different genres. Falik pays considerable attention to choral music. His choral legacy is represented by a wide range of genres. These are miniatures, a choral concert, a poem and a choral cycle, Orthodox hymns and a Catholic ordinary mass. The range of the composer's poetic preferences is also rich. Falik refers to the poems of A. S. Pushkin, M. Y. Lermontov, A.A. Tarkovsky, A.I. Solzhenitsin, N. A. Klyuev, A.A. Akhmatova, N.S. Gumilev and M.I. Tsvetaeva. The article discusses the peculiarities of the implementation of the content of M. Tsvetaeva's poems by musical means in the choral concert "Trinity Day" by Yu. Falik. Starting from the folklore motifs embedded in the poems, Falik creates stylizations referring to Russian drawling songs, ditties, and the dialect characteristic of the folk tradition. The composer uses variation of melodic motifs, rhythmic variation, combines natural-fret means and chromatics, uses such techniques as choral staccato, glissando, imitation of instrumental tunes, introduces ostinate layers of sound. It is established that the composer managed to find such structural, melodic, rhythmic techniques and musical means that not only illustrate the content of the poems, but also reveal its new facets.