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Park, Young Shin, Hyunjin Moon e Yunhee Seung. "A Study on the Aspects of Children's Song Festival Winning Songs Included in Elementary School Music Textbooks". Korean Association For Learner-Centered Curriculum And Instruction 22, n. 19 (15 ottobre 2022): 533–50. http://dx.doi.org/10.22251/jlcci.2022.22.19.533.
Testo completoAbstract (sommario):
Objectives Looking back at the 100-year history of creative children's songs, the ‘Children's Song Festival’ proves to have had a great influence on the development of children songs. The first purpose of this study is to investigate all Children's Song Festival winning songs included in elementary school music textbooks according to the educational curriculum change. The second purpose is to analyze the aspects of those winning songs published in music textbooks. Methods To do so, this study conducted a combination of literature reviews and research study methods, and analyzed Children's Song Festival winning songs in music textbooks. These songs were those that were included in 3~6 grade elementary school music textbooks from the fifth curriculum period (1987~1991) until the current 2015 revised curriculum; meaning all winning songs in elementary school music textbooks since the first Children's Song Festival of 1983 were analyzed. Results First, an analysis on ‘Children's Creative Song Festival Winning Songs and Number of Songs’ shows that out of the total 96 winning songs, the majority of winning songs were from the MBC Children's Song Festival - a total of 69 songs (71.9%). Second, upon analyzing the ‘Number of Times Festival Winning Songs were Published’, it was found that the number increased as the curriculum changed and as textbooks went up to an older grade level. The textbook publisher ‘Genius Education’ had the most winning songs within their textbooks - a total of 43 times (15.8%) were winning songs published. Third, after analyzing the ‘Name and Number of Overlapping Winning Songs’, it was revealed that there were 51 overlapping songs, the song that was published multiple times in music textbooks was <On a Train Ride> from the 1st KBS Children's Song Festival - a total of 13 times. The songs <Island Village> and <Walking in the Woods> were published 11 & 10 times respectively - both songs were from the 4th MBC Children's Song Festival. Songs that are continuously included in music textbooks are <On a Train Ride> and <Walking in the Woods>. Conclusions The act of singing creative children songs gives children hope, courage, the chance to dream, and holds an educational meaning that allows them to experience the beauty of music. Thus, continuing discovery and supply of creative children's songs are of great significance. Since Children's Song Festivals, which has played a huge role in the development of creative children's songs, are no longer as common as before, a new developing method that fits current society criteria must be sought out.
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Dong, Aoran, Ruizhe Qiu e Zhen Ye. "Regression Analysis of Song Popularity based on Ridge, K-Nearest Neighbors and Multiple-Layers Neural Networks". Highlights in Science, Engineering and Technology 39 (1 aprile 2023): 609–17. http://dx.doi.org/10.54097/hset.v39i.6602.
Testo completoAbstract (sommario):
Contemporarily, human beings are working on the implementation of artificial intelligence technology in the arts fields, where the music is one of the directions. Before humans can create a song with artificial intelligence, it is necessary to understand the song first. This research tries to find out the relationship between the song's popularity and several selected songs' physical parameters based on statistics and machine learning. According to the analysis, this research proves that there is no significant relationship between selected physical parameters and the song's popularity. In addition, machine learning algorithms also do not find the potential relationships between them. In this case, it is safe to conclude that creating the song by considering these selected physical parameters is meaningless. On this basis, scholars should try to find out what factors make the song popular in terms of analyzing songs differently. These results shed light on guiding further exploration of future music analysis and artificial intelligence in music fields.
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Hiller, James. "Music Therapists’ Preparation for Song Discussion: Meaning-Making With the Music". Music Therapy Perspectives 37, n. 2 (2019): 205–12. http://dx.doi.org/10.1093/mtp/miz005.
Testo completoAbstract (sommario):
Abstract Songs are powerful catalysts and resources for change processes in music psychotherapy. Not surprisingly, music therapists often invite clients to listen to recordings of popular songs. A common song listening method is song discussion, in which a therapist selects a relevant song to explore with a client or group and facilitates the listening and subsequent verbal processing. In the relevant music therapy literature, lyrics assume a primary focus (i.e., lyric analysis), and yet, the music of a song, as integrated with its lyrics, impacts both client’s and therapist’s meaning-making and is therefore crucial to take into account. The purpose of the present investigative essay is to encourage music therapists to give attention to the music of recorded songs as they plan to facilitate song discussion. Herein I present a conceptualization of recorded popular songs and consider how one makes meaning from song listening processes. I urge therapists to prepare for song discussion through careful phenomenological listening and introspective interpretation. Finally, I describe procedures of a developing model for aural song analysis and interpretation based on Bruscia’s Improvisation Assessment Profiles (IAPs) with an abbreviated example viewed through multiple theoretical perspectives.
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Navin Kamuni. "Enhancing Music Genre Classification through Multi-Algorithm Analysis and User-Friendly Visualization". Journal of Electrical Systems 20, n. 6s (29 aprile 2024): 2274–81. http://dx.doi.org/10.52783/jes.3178.
Testo completoAbstract (sommario):
The aim of this study is to teach an algorithm how to recognize different types of music. Users will submit songs for analysis. Since the algorithm hasn't heard these songs before, it needs to figure out what makes each song unique. It does this by breaking down the songs into different parts and studying things like rhythm, melody, and tone via supervised learning because the program learns from examples that are already labelled. One important thing to consider when classifying music is its genre, which can be quite complex. To ensure accuracy, we use five different algorithms, each working independently, to analyze the songs. This helps us get a more complete understanding of each song's characteristics. Therefore, our goal is to correctly identify the genre of each submitted song. Once the analysis is done, the results are presented using a graphing tool, making it easy for users to understand and provide feedback.
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Wafa, Mochammad Usman, Neli Purwani e Abdul Malik. "Characteristics of Titounis Children Songs: A Study of Songs, Music Instruments and Onomatopoeia". Harmonia: Journal of Arts Research and Education 20, n. 2 (27 dicembre 2020): 161–66. http://dx.doi.org/10.15294/harmonia.v20i2.25539.
Testo completoAbstract (sommario):
The purpose of the study is to describe an analysis of children’s song characteristics Titounis. This study used a musicological approach to recognize songs’ characteristics. The data collection were document study and, listen and take note. This study used a content analysis technique. The analysis cover three aspects: (1) songs’ analysis, (2) instruments’ analysis, (3) Onomatopoeia. The songs that were analyzed were (1) Petit Escargot, (2) Le Roues de l Autobus, (3) Les Chiffres, (4) Un kilometer en Roulant. In the song analysis, the patterns used were general patterns, using fun and cheerful vocals, strong tonal stress, relatively limited variations in tones, slow, fast, and gradual tempo. The delivery style invites singing as well as dialogue or interaction. Then in musical instruments, the melody variations of each instrument form harmonization, the use of non-musical instruments emphasizes the theme of the song and provides the experience of hearing about the environment. The onomatopoeic analysis shows sound vroom (car), pataboum (jumping passengers), bip-bip-bip (serine), suisse-suisse (wiper). The onomatopoeia of Titounis songs serves to strengthen the song’s theme.
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Barbiere, J. Michael, Ana Vidal e Debra A. Zellner. "The Color of Music: Correspondence through Emotion". Empirical Studies of the Arts 25, n. 2 (luglio 2007): 193–208. http://dx.doi.org/10.2190/a704-5647-5245-r47p.
Testo completoAbstract (sommario):
College students listened to four song clips. Following each clip, the students indicated which color(s) corresponded to each of the four songs by distributing five points among eleven basic color names. Each song had previously been identified as either a “happy” or “sad” song. Each participant listened to two “happy” and two “sad” songs in random order. There was more agreement in color choice for the songs eliciting the same emotions than for songs eliciting different emotions. Brighter colors such as yellow, red, green, and blue were usually assigned to the happy songs and gray was usually assigned to the sad songs. It was concluded that music-color correspondences occur via the underlying emotion common to the two stimuli.
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Zhang, Yelin. "A Multi-sentence Music Humming Retrieval Algorithm Based on Relative Features and Deep Learning". Scalable Computing: Practice and Experience 25, n. 3 (12 aprile 2024): 1799–806. http://dx.doi.org/10.12694/scpe.v25i3.2711.
Testo completoAbstract (sommario):
This project will study a fast retrieval method for music humming speech recognition based on sentence features and deep learning. The method proposed in this paper can realize the fast extraction of songs. According to the characteristics of the natural pause mode of the song, the song database and the song fragments provided by the user are divided into different sentences. The deep learning algorithm of BDTW is used to calculate the similarity of the song's pitch, and users can set matching conditions according to their preferences. It can identify the most significant differences between music fragments and the order of queries in the database. Then, a retrieval method of a music database based on DIS is proposed. It can shorten the acquisition time. Experiments show that the algorithm can recognize humming songs quickly and efficiently.
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Hertz, Paul, e Barry Truax. "Song of Songs: Computer Music". Leonardo 31, n. 1 (1998): 74. http://dx.doi.org/10.2307/1576551.
Testo completo
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Kang, Stella. "Analysis of practical and popular music as contemporary music: Focusing on elementary school music textbooks". Korean Association For Learner-Centered Curriculum And Instruction 24, n. 5 (15 marzo 2024): 77–93. http://dx.doi.org/10.22251/jlcci.2024.24.5.77.
Testo completoAbstract (sommario):
Objectives The need for an accurate understanding of the concepts of contemporary music, practical music, and popular music, and the recognition of the necessity for changes in music education based on individual music tastes and preferences, are affirmed. This aims to advocate for a reassessment of music textbooks, particularly in elementary music education, through a quantitative evaluation of practical and popular music content. Furthermore, the proposal emphasizes the necessity for changes in music textbooks through individual assessments of multi-frequent songs.
Methods Analyze the popular music area included in elementary school music textbooks. We analyzed the songs included in 32 textbooks from 8 different publishers, established the multi-frequent songs, and looked into the characteristics and contents of each song. The need for changes to the songs included in textbooks is confirmed through individual evaluation of the distribution of songs included in music textbooks and the multi-frequent songs.
Results First, animation music accounts for 26.4% and movie music 25.8%, which accounts for more than 50%. Second, there are 121 foreign songs and 61 domestic songs, with POP (13.2%) followed by K-POP (9.9%), and there are many POP in the singing field. Third, there are differences between textbooks, Fourth, the content related to the music industry is insufficient, and it is included in 5 textbooks (out of 32), and Fifth, there are problems with the content and release period of multi-frequent songs. Lastly, since multi-frequent songs are repeatedly included in middle and high school textbooks, a feasibility study on this aspect is also necessary.
Conclusions There is a need to realistically reflect the songs included in textbooks, and for this, it is necessary to reexamine the songs included in textbooks. There is a need for a change in perception of popular music education due to scientific development, and a practical approach to the methods and content needed for future popular music education is needed.
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Purnomo, Try Wahyu. "PEMILIHAN LAGU PELANGI – PELANGI CIPTAAN A.T. MAHMUD SEBAGAI MATERI AJAR DALAM PEMBELAJARAN MUSIK ANAK". Jurnal Guru Kita PGSD 5, n. 1 (2 dicembre 2020): 23. http://dx.doi.org/10.24114/jgk.v5i1.20857.
Testo completoAbstract (sommario):
Abstract: Selection Of Pelangi Songs - Rainbow Creation A.T. Mahmud As A Teaching Material In Children's Music Learning. The purpose of this study was to determine the selection of songs used as teaching material in children's music learning. The research used a descriptive qualitative approach where this method the writer could explain the results of the lyric analysis and also the rhythm of A.T Mahmud's rainbow song which was used as teaching material in children's music learning. Teaching materials aimed at children, of course, must refer to aspects that are easy to match the child's character. In terms of lyrics, a song must be invincible through choosing the right words for children, choosing songs with simple rhythm forms can also help children to follow the learning process well. Based on the analysis of A.T Mahmud's rainbow song, it can be seen that the song lyrics reveal a positive thing, namely telling children that God created something beautiful and rich in various colors. The rhythm concept in this song is also fairly simple, so it is very appropriate to be used as teaching material in children's music learning Keywords: Children’s songs, Music Teaching Materials, Music Learning Abstrak: Pemilihan Lagu Pelangi – Pelangi Ciptaan A.T. Mahmud Sebagai Materi Ajar Dalam Pembelajaran Musik Anak. Tujuan dari penelitian ini adalah untuk mendiskusikan mengenai pemilihan lagu yang digunakan sebagai materi ajar dalam pembelajaran musik anak. Penelitian ini menggunakan pendekatan kualitatif yang bersifat deskriptif dimana dengan metode ini penulis dapat memaparkan mengenai hasil analisis lirik dan juga ritme terhadap lagu pelangi ciptaan A.T Mahmud yang digunakan sebagai materi ajar pada pembelajran musik anak. Materi ajar yang ditujukan untuk anak tentunya harus mengacu kepada aspek-aspek yang mudah untuk dimengerti sesuai dengan karakter anak. Dari segi lirik sebuah lagu harus disesuaikan melalui pemilihan kata-kata yang tepat untuk anak, pemilihan lagu dengan bentuk ritme yang sederhana juga dapat membantu anak untuk mengikuti proses pembelajaran dengan baik. Berdasarkan hasil analisis pada lagu pelangi ciptaan A.T Mahmud maka dapat dilihat bahwa lirik lagu menceritakan hal yang positif yaitu memberitahukan kepada anak bahwa Tuhan menciptakan sesuatu yang indah dan kaya akan berbagai warna. Konsep ritme dalam lagu ini juga terbilang sederhana, sehingga sangat tepat digunakan sebagai materi ajar dalam pembelajaran musik anak Kata kunci: Lagu anak, Materi Ajar Musik, Pembelajaran Musik
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Duinker, Ben. "Song Form and the Mainstreaming of Hip-Hop Music". Current Musicology 107 (27 gennaio 2021): 93–135. http://dx.doi.org/10.52214/cm.v107i.7177.
Testo completoAbstract (sommario):
Song form in North American hip-hop music has evolved along the genre’s journey from its origins as a live musical practice, through its commercial ascent in the 1980s and 1990s, to its dominance of mainstream popular music in the 21st century. This paper explores the nature and evolution of song form in hip-hop music and uses them as a musical lens to view the gradual and ongoing mainstreaming of this genre. With the help of a corpus of 160 hip-hop songs released since 1979, I describe and unpack section types common to hip-hop music—verses, hooks, and instrumentals—illustrating how these sections combine in different formal paradigms, such as strophic and verse-hook. I evaluate the extent to which formal structures in hip-hop music can be understood as products of the genre’s live performance culture; one with roots in African American oral vernacular traditions such as toasting. Finally, I discuss how form in hip-hop music has increasingly foregrounded the hook (chorus): the emergence of the verse-hook song form, an increase in sung hooks (often by singers outside the hip-hop genre), the earlier arrival of hook sections in songs, and the greater share of a song’s duration occupied by hooks. Viewing hip-hop music’s evolution through this increasing importance of the hook provides a clear representation of the genre’s roots outside of, and assimilation into, mainstream popular music; one of many Black musical genres to have traversed this path (George, 1988).
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Hitchcock, H. Wiley. "Ives's "114 [+ 15] Songs" and What He Thought of Them". Journal of the American Musicological Society 52, n. 1 (1999): 97–144. http://dx.doi.org/10.2307/832025.
Testo completoAbstract (sommario):
This essay reflects work toward a critical edition of 129 Ives songs (all those in whose publication he was directly involved)-mainly 114 Songs (1922) and the New Music issues of Thirty-Four Songs (1933) and Nineteen Songs (1935). It explores his value judgments of them, and also of 50 Songs (1923), containing unaltered reprints from 114. 114 Songs is eclectic and inclusive, a retrospective exhibition of various song types, including ones drastically foreign to conventional notions of a song. In 50 Songs, Ives responded to adverse reactions to 114 Songs and sought to reprint songs of "more general interest." For the New Music collections, he revised many songs, especially those initially arranged from pre-114 chamber-ensemble works. To the latter he typically restored material from the "parent pieces," increasing the songs' dissonance (not, however, to falsify their modernity). He also reprinted conservative songs, as well as adding nine previously unpublished ones, and in both collections chose the songs' order carefully.
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Siddiquee, Md Mahfuzur Rahman, Md Saifur Rahman, Shahnewaz Ul Islam Chowdhury e Rashedur M. Rahman. "Association Rule Mining and Audio Signal Processing for Music Discovery and Recommendation". International Journal of Software Innovation 4, n. 2 (aprile 2016): 71–87. http://dx.doi.org/10.4018/ijsi.2016040105.
Testo completoAbstract (sommario):
In this research, the authors propose an intelligent system that can recommend songs to user according to his choice. They predict the next song a user might prefer to listen based on their previous listening patterns, currently played songs and similar music based on music data. To calculate music similarity the authors used a Matlab toolbox that considers audio signals. They used association rule mining to find users' listening patterns and predict the next song the user might prefer. As they propose a music discovery service as well, the authors use the information of music listening pattern and music data similarity to recommend a new song. Later in result section, they replaced the audio based similarity with last.fm api for similar song listing and analyzed the behaviour of their system with the new list of songs.
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Brata, I. Putu Bayu Wira, e I. Dewa Made Bayu Atmaja Darmawan. "Mood Classification of Balinese Songs with the K-Means Clustering Method Based on the Audio-Content Feature". JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 9, n. 3 (18 febbraio 2021): 331. http://dx.doi.org/10.24843/jlk.2021.v09.i03.p03.
Testo completoAbstract (sommario):
Bali is a province that has a diversity of arts and can not shunt from songs that come from Bali. Music in Balinese songs has a unique character, both in the variations of the tone that builds up a song and the lyrics contained in a Balinese song. Research on the classification of mood with energy and valence features of a song is often done, especially on western songs. Every music that is thought out has emotional energy that radiates and powerfully connects with human psychology. This research wants to explore whether the features used to classify western songs can also classify Balinese songs, which are rich in the sound of musical instruments according to the tastes of the Balinese themselves. Classification of songs is essential, considering that music is related to specific emotions and moods in humans. In this study, the mood classification of Balinese songs is performed using the Spotify API feature, namely energy and valence. Classification using K-means clustering based on energy and valence features is compared with the song mood data from ten respondents and produces the highest accuracy of 32%.
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Kennelly, Tim, e Paul D. Berger. "HOW LOUDNESS, SONG NEGATIVITY AND PLAYLIST PERSONALIZATION CAN INCREASE SPOTIFY’S CUSTOMER RETENTION". EPH - International Journal of Business & Management Science 4, n. 1 (27 marzo 2018): 23–31. http://dx.doi.org/10.53555/eijbms.v4i1.63.
Testo completoAbstract (sommario):
In this paper, we consider the music streaming service provider, Spotify. We consider 14 attributes of a song (13 of which provided by Spotify, mostly subjective, a few objective) and analyze the relationship between these 14 attributes/ "variables" and a song's position in the top 50 songs in the United States Top 50 playlist. Specifically, we first examine, for each of the 14 variables, whether the top 25 songs have a different mean from the mean of the bottom 25 songs. Then, we analyze, using linear multiple regression analysis followed by linear stepwise regression analysis, the relationship between position of the song on the playlist and the values of the 14 variables.
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Zilmi, Fauziatus, Abdul Rachman e Moh Muttaqin. "Ngeroncongi And Ngepop : A Study Of Popular Song's Vocal Performance In Keroncong Music In Semarang". Jurnal Seni Musik 10, n. 1 (30 giugno 2021): 17–24. http://dx.doi.org/10.15294/jsm.v10i1.46812.
Testo completoAbstract (sommario):
Keroncong Music is a music that has different character from other musics, including several techniques in vocal performance, such as luk, nggandul, embat, gregeland cengkok. Nowadays keroncong music does not only perform keroncong songs but also performs popular songs accompanied by keroncong music. When performing popular songs accompanied by keroncong music, usually the performance of each singer will be different. This study aims to determine how the vocal performance of popular songs in keroncong music. The research method used was qualitative. Data collection techniques used observation, interviews, and document study. The results showed that in performing pop songs with a slow tempo accompanied by keroncong music, the techniques used by keroncong singers tended to be Ngeroncongiwhich means that singers still use some keroncong singing techniques such as luk, nggandul, embat, gregel, and cengkokalthough the songs performed have pop genre. Whereas in performing pop songs in fast tempo that are accompanied by keroncong music, the techniques used by keroncong singers tend to pop (ngepop), which means the singers still show pop techniques and improvisation.
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Taha, Ahmed Nuradeen, Ehsan Shaker Zalzala e Nareman Abdulla Kareem. "Using Kurdish Songs in the Piano Method". Journal of University of Raparin 11, n. 1 (9 luglio 2024): 263–94. http://dx.doi.org/10.26750/vol(11).no(1).paper11.
Testo completoAbstract (sommario):
The nations of the world have paid attention to preserve their musical heritage in many fields, including education system and teaching music, and have used their musical heritage in their educational music programs, including the method of playing the piano which is the main aim of this research. Some of music composers have used popular and famous songs as an educational approach to teach the piano. Therefore, the researcher has selected some examples of famous Kurdish songs and used them for the beginner level. "Using Kurdish Songs in the Piano Method" is the combination of Kurdish song heritage with a very important instrument of music, which has a very important and influential role in the art of music in general, in the process of music education in particular. In this regard, this study uses Kurdish song heritage as an educational model for piano playing at the beginning level for adults. Many studies confirm that pieces of music and exercises that use the melodies of traditional and popular songs are the best teaching materials for teaching music. It also helps music learners to know their music heritage and it can strengthen their cultural identity as well.
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Philibotte, Sara J., Stephen Spivack, Nathaniel H. Spilka, Ian Passman e Pascal Wallisch. "The Whole is Not Different From its Parts". Music Perception 40, n. 3 (1 febbraio 2023): 220–36. http://dx.doi.org/10.1525/mp.2023.40.3.220.
Testo completoAbstract (sommario):
Music psychology has a long history, but the question of whether brief music excerpts are representative of whole songs has been largely unaddressed. Here, we explore whether preference and familiarity ratings in response to excerpts are predictive of these ratings in response to whole songs. We asked 643 participants to judge 3,120 excerpts of varying durations taken from different sections of 260 songs from a broad range of genres and time periods in terms of preference and familiarity. We found that within the range of durations commonly used in music research, responses to excerpts are strongly predictive of whole song affect and cognition, with only minor effects of duration and location within the song. We concluded that preference and familiarity ratings in response to brief music excerpts are representative of the responses to whole songs. Even the shortest excerpt duration that is commonly used in research yields preference and familiarity ratings that are close to those for whole songs, suggesting that listeners are able to rapidly and reliably ascertain recognition as well as preference and familiarity ratings of whole songs.
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Siebenaler, Dennis J. "Student Song Preference in the Elementary Music Class". Journal of Research in Music Education 47, n. 3 (ottobre 1999): 213–23. http://dx.doi.org/10.2307/3345780.
Testo completoAbstract (sommario):
In 1996, the Music Educators National Conference (now MENC—The National Association for Music Education) published a list of 42 songs that “every American should know” as part of a nationwide campaign to promote singing. The purpose of the present study was to determine student preferences for several songs on the list, as well as how familiarity with a song may be related to that preference. In addition, possible interactions of gender, grade level, language spoken at home, rehearsal, and self-evaluations of singing were also examined. Ten songs, all limited to a one-octave range, were selected from the MENC list of songs. Subjects ( N =160) were nine intact classes of third, fourth, and fifth graders (three classes at each grade level) in an urban school. During their regularly scheduled music class, subjects listened to the 10 recorded songs and rated each on a 5-point Likert-type scale for both preference and familiarity. In 10 subsequent classes, each song (one song per class) was rehearsed for 10 minutes, followed by another preference rating and a self-evaluation of performance quality. This investigation examined possible relationships between students' familiarity with a song and their subsequent preference for the song. Correlations for individual songs ranged from .40 to .64 with a mean correlation over all 10 songs at .57. A significant difference ( p < .01) between grade levels was found for both familiarity and preference. The youngest subjects responded most positively. Boys indicated a consistent decline in both song familiarity and preference from Grades 3 to 5. Grade level, gender, and language spoken at home (English or Spanish) interacted significantly ( p < .01) in their effect on song preference for these elementary students. Mean preference ratings were consistently higher after the 10-minute rehearsal with one exception (“De Colores”). The student subjects rated themselves consistently high in self-evaluations of singing.
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Hudson, Stephen S. "Song form and storytelling in mainstream metal". Metal Music Studies 9, n. 1 (1 marzo 2023): 7–26. http://dx.doi.org/10.1386/mms_00092_1.
Testo completoAbstract (sommario):
This article builds on a new theory of metal song form () to show how different versions of compound AABA form can carry narrative meaning, illustrated by analyses of a number of famous metal songs in mainstream (i.e. not underground/extreme) styles. First, I discuss how some songs about rituals use conventional compound AABA form such that the ‘transformation’ event of the ritual occurs during the song’s B section, focusing on examples by Mercyful Fate and Ghost. Next, I show how several metal ballads use a shortened version of the conventional form (AAB) to depict a protagonist who loses control, getting ‘stuck’ at the same time as the form gets ‘stuck’ in the B section, focusing on examples by Metallica and Pantera. I end with a short analysis showing how aspects of these two established strategies are combined in a unique pairing of form and narrative in Iron Maiden’s ‘Run to the Hills’. As I analyse these songs, I explore how musical form can structure fans’ participation in the music and shape their experiences of these songs’ stories.
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Marina, Liza, Fahririn Fahririn e M. Ridwan. "PERLINDUNGAN HUKUM HAK PENCIPTA LAGU DAN MUSIK YANG DIKOMERSIALISASI DI PLATFORM DIGITAL YOUTUBE TANPA IZIN". Jurnal Hukum Mimbar Justitia 9, n. 1 (30 giugno 2023): 22. http://dx.doi.org/10.35194/jhmj.v9i1.3507.
Testo completoAbstract (sommario):
Repeating songs or covering songs uploaded on a digital platform is done in practice, but among them there is covering the songs and music commercially without the permission of the Creator and the Related Rights Owner. This research is carried out using normative legal methods through legislative approaches. The study discusses the application of the economic rights protection of Creators and Related Rights Holders on songs reproduced commercially without permission on the uploaded digital platforms of yuotube and the role of LMKN in protecting the copyrights of songs and music uploaded on the digital platform of youtube. Based on this legal normative study, it is concluded that the protection of recorded and unrecorded song and music works remains protected by law as well as the role of the National Collective Management Agency in collecting royalty on song and musical works on digital platforms is part of the protection granted to Creators and Owners of related rights over their economic rights.Keywords: Copyright, cover song, digital platform, LMKN
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Stephenson, Jean. "“Quizás, quizás, quizás”. Translators’ dilemmas and solutions when translating spanish songs into english". DEDiCA Revista de Educação e Humanidades (dreh), n. 6 (1 marzo 2013): 139–51. http://dx.doi.org/10.30827/dreh.v0i6.6968.
Testo completoAbstract (sommario):
Rendering songs into another language poses numerous difficulties for translators. Songs may be considered as poems set to music, and in translating them, these professionals confront not only routine translation problems such as expressing the meaning, ambience and style of the original work, but they also have to attend to other requisites such as creating a new version of the song within the restrictions of rhythm and rhyme. In this article, I examine songs from Spanish literature and from Spanish and South American popular music, and explore translators’ ways of converting the original texts into English. We shall see that sometimes they have captured meaning by translating virtually word for word, while on other occasions translated songs manage to encapsulate only the general sense and atmosphere of the original Spanish song. In some cases, sounds from the original have acted as a catalyst for the topic of a new song, while in others the song’s main topic has been discarded altogether. As a result of these perhaps inevitable adjustments and shifts in topic and atmosphere there will nearly always be some kind of ‘loss’ in the translation of songs, but on rare occasions their rendition into English almost seems to ‘improve’ on the Spanish version. I will outline Low’s (Low, 2005) “Pentathlon Principle” which offers five criteria for assessing song translation, and examine specific translations from this persective. Song examined are María Josefa’s song “Ovejita, niño mío” from Federico García Lorca’s “La Casa de Barnada Alba”, Luis Aguilé’s “Cuando salí de Cuba”, Agustín Lara’s “Granada”, and Osvaldo Farrés’s “Quizás, quizás, quizás.”
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Sparling, Heather. "“Music is Language and Language is Music”". Ethnologies 25, n. 2 (13 aprile 2004): 145–71. http://dx.doi.org/10.7202/008052ar.
Testo completoAbstract (sommario):
Abstract In this article, the author considers the effects of language attitudes, a sociolinguistic concern, on musical practice. This article assumes that language and music attitudes are related as different expressions in and of a common cultural context. The author demonstrates how Scots Gaelic language attitudes in Cape Breton (where a few hundred people still speak the language) have developed, and considers the possible interplay with current attitudes towards two particular Gaelic song genres. Gaelic language learners and native/fluent speakers in Cape Breton articulated distinct and opposing attitudes towards the song genre of puirt-a-beul [mouth music], and these attitudes are examined in relation to those towards the Gaelic language and compared with their response to eight-line songs, a literary Gaelic song type. Detailed musical and lyric analyses of three Gaelic songs are provided to illustrate the connection between language and music attitudes. The current attitude towards Gaelic in Cape Breton is traced through the history of language policy in Scotland and Cape Breton. These sociolinguistic and musicological analyses are supplemented with ethnographic evidence.
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Permana, Restiawan, e Yusmawati. "KOPI-SENJA DAN INDIE: ANALISIS REPRESENTASI LAGU ‘TAK PERLU ADA SENJA’ DAN ‘KOPI, SENJA, DAN LOGIKA’". Jurnal Indonesia : Manajemen Informatika dan Komunikasi 4, n. 1 (25 gennaio 2023): 310–20. http://dx.doi.org/10.35870/jimik.v4i1.184.
Testo completoAbstract (sommario):
Song lyrics are an example of how music is a cultural tool that is used in society to shape social reality. Because there was no power relations from market demand during the industrialization of independent music, it became a counterculture. Indie music is a new lifestyle trend, especially for coffee lovers, because it frequently features songs with poetic lyrics about savoring the sunset as well as resistance. Fans of independent music cannot separate the three elements of dusk, coffee, and indie music. This study aims to examine how coffee-speech is portrayed in two songs with twilight themes. The formulation of the problem in this study is how the lyrics of the song 'Tak Perlu Ada Senja' sung by Suara Kayu ft. Fiersa Besari and the song 'Kopi, Senja, dan Logika' sung by the band Nosstress represent kopi-senja as a new term for indie music fans in Indonesia ?”. This research is a qualitative research through a textual/literary approach using Ferdinand de Saussure's semiotic analysis method. The author divides the song's text into two meanings, the signifier and the signified, using Ferdinand de Saussure's semiotic analysis. In conclusion, coffee and dusk go hand in hand with indie music. It turns out that coffee is a popular beverage among people who do more than just hang out in coffee shops. However, coffee has a positive energy that might inspire.
25
Roland-Silverstein, Kathleen. "Music Reviews". Journal of Singing 80, n. 2 (25 ottobre 2023): 237–40. http://dx.doi.org/10.53830/vckz2369.
Testo completoAbstract (sommario):
Review of vocal music by two American composers: Scott Wheeler, “Dreams, Lies & Love Songs” and Juliana Hall, “Setting Sails,” twelve song settings of Emily Dickinson poems for soprano, mezzo, or tenor. British composer Jacques Cohen’s “Love Journey,” seven song settings for voice and piano, and for string orchestra, on poems from James Joyce’s “Chamber Music.”
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Prickett, Carol A., e Madeline S. Bridges. "A Comparison of the Basic Song Repertoire of Vocal/Choral and Instrumental Music Education Majors". Journal of Research in Music Education 48, n. 1 (aprile 2000): 5–9. http://dx.doi.org/10.2307/3345452.
Testo completoAbstract (sommario):
Following up on an earlier study, an audiotape of the tunes of 25 standard songs, assumed to be known by everyone who has finished 6th grade, was played for 135 undergraduate instrumental music education students and 79 undergraduate vocal/choral music education students. There was no significant difference in the ability of either group to identify the songs. The means for both groups indicated that neither had developed a strong repertoire of standard songs outside the college classroom. Several songs that music educators have stated are very important for children to learn could not be identified by even half the students in either group. It is recommended that professors preparing music education students for their future careers consider adding activities to music education courses that build a strong song repertoire.
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Wahyudin, Wahyudin, e Nur Fajar Absor. "MASYARAKAT KELAS BAWAH DALAM LIRIK LAGU-LAGU IWAN FALS (1981-1994)". Estoria: Journal of Social Science and Humanities 2, n. 2 (1 aprile 2022): 302–16. http://dx.doi.org/10.30998/je.v2i2.937.
Testo completoAbstract (sommario):
Abstract This article discusses Iwan Fals' musical career and his songs with the theme of social criticism, especially songs with the theme of lower class society from 1981-1994. The purpose of this article is to explain the meaning or content contained in the lyrics of Iwan Fals' songs with the theme of lower class society which will then be linked to the context of society at that time. This article uses the Historical method which is presented in a descriptive-analytical form and utilizes news sources, cassette covers, newspapers and magazines, photos and relevant books. To examine the lyrics of the song specifically using the semiotic method of Roland Barthes. Based on the facts collected, Iwan Fals is a stage name and has the real name virgiawan listanto. As a child, he often played with poor children in the village behind his house. He began to recognize music from his boarding house in Bandung. His success in winning the 1979 Country Music Festival made Musica Studio recruit Iwan Fals. Together with musica he completed 13 albums between the period 1981-1988.Iwan Fals considers his songs are the result of his observations of society. From the results of the analysis, Iwan Fals' songs have a lot to say about the life of the lower class. His partiality to the lower class of society is inseparable from his background in life which is close to the community. Keywords: Iwan Fals, Lower Class Society, Music Industry, Semiotics
28
Fortunata Tyasrinestu. "Vocal and Consonant Patterns in Indonesian Children's Songs". Journal of Electrical Systems 20, n. 5s (13 aprile 2024): 1525–29. http://dx.doi.org/10.52783/jes.2485.
Testo completoAbstract (sommario):
As a medium in educational music, the song provides space for explanations related to the sound of the language. Prosody or language sounds have similarities to musical sounds studied in phonology. Thus, the management of language sounds in expressing children's songs can be used to identify prosodic factors in educational music. This study aims to provide an explanation of the prosody of children's songs in the context of educational music and to find out the factors that influence prosody in children's songs, the sound changes that occur, accompaniment sounds that accompany the main sound, and the factors that influence it in the context of music education. The results of this study show the characteristics of vowel and consonant sounds in children's song lyrics and the sounds produced for certain vowels and consonants. The factors that influence prosody in children's songs are the word order in the form of vowels and consonants in each of the lyrics. This is to clearly understand the sounds produced by children and their use in educational music.
29
Et.al, ZaharulLailiddinSaidon. "The Development and Evaluation of a Song Album as an Instructional Material for the Teaching and Learning of Basic Arabic Language in Malaysian Primary Schools". Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, n. 3 (10 aprile 2021): 370–80. http://dx.doi.org/10.17762/turcomat.v12i3.741.
Testo completoAbstract (sommario):
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.
30
Wu, Jiayu, Cheong Jan Chan e Julia Chin Yee Chieng. "The Innovation of Mongolian Folk Song Music Cultural Inheritance Path Based on Intelligent Computing Analysis of Communication Big Data". Security and Communication Networks 2022 (11 aprile 2022): 1–13. http://dx.doi.org/10.1155/2022/5752751.
Testo completoAbstract (sommario):
Cultural inheritance and innovation is an important measure to enhance the vitality of traditional culture and realize the sharing of national culture. Mongolian folk music, as an important part of Chinese cultural resources, plays an irreplaceable role in inheriting Mongolian culture. How to better inherit the music culture of ethnic minorities has been a hot topic in the music education circle in recent years. However, when we focus on the campus inheritance of ethnic minority music, we have to pay attention to the original living space of ethnic minority music and its unique local inheritance method. What is the relationship between them? What are the similarities and differences? The investigation of the relationship between the two is an indispensable content for exploring the inheritance of minority music. This paper aims to study the innovation of the inheritance path of Mongolian folk song music culture, endow Mongolian folk song music with a new era connotation in the new era, and let the folk song music culture be inherited and revitalized in the in-depth contact with the masses. This paper proposes a method to study user needs with the help of dissemination big data, identify malicious traffic with the help of the Internet of Things, find the most touching music and cultural elements of users, innovate and integrate the Mongolian nation, avoid malicious traffic from invading Mongolian folk songs, and enhance the attractiveness of Mongolian folk songs. Experiments have shown that Mongolian folk songs have a strong appeal, and the participation rate of young people in Mongolian folk songs has increased by 20%.
31
Roland-Silverstein, Kathleen. "Music Reviews". Journal of Singing 79, n. 3 (30 dicembre 2022): 413–16. http://dx.doi.org/10.53830/tjdv9385.
Testo completoAbstract (sommario):
This music review covers new (2022) song and aria publications. These include operatic arias excerpted from the chamber opera, Uncovered, by American composer Lori Laitman; a two volume collection of operatic arias by American composer Stephen Paulus; the song, “Partridge Sky”, by Chinese composer Fang Man; and a collection of encore songs created by 20th century comedienne Anna Russell, in a new edition by American pianist and editor, Dace Gisclard.
32
Kim, Seon ah. "From early composed art songs in Japanese occupation period to korean style art songs: the correlation between poetry and music in Park Tae-joon s art Song". Korean Society of Music Education Technology 47 (30 aprile 2021): 209–28. http://dx.doi.org/10.30832/jmes.2021.47.209.
Testo completoAbstract (sommario):
A study on the analysis of Park Tae-joon s art song is the first step in studying the process of transforming from early composing song to Korean style art songs in the early modern era of Korea. IIt focused on changing musical factors of his pieces from his initial period of time until the time when he established matured technique. I analyzed how the music expressed the lyrics when it sings a poem and how Korean elements were used in Park Tae-joon s music works.
Generally Park Tae-joon composed simple music with regular phrase such as children s songs and hymns. Sometimes he tried to express the meaning of poetry matching texts with music by using musical elements like word painting, figurations of piano accompaniment and using irregular time. In addition, although he composed art songs that are western musical forms, he tried to use Korean musical idioms, which commonly used in Korean traditional songs called “Min-yo” such as a pentatonic scale, triple meter and Saeya harmony. This study finds that Park Tae-joon tried to find his identities of Korean art songs in the early modern era of Korea.
33
Lu, Wei. "Design of a Music Recommendation Model on the Basis of Multilayer Attention Representation". Scientific Programming 2022 (21 gennaio 2022): 1–8. http://dx.doi.org/10.1155/2022/7763726.
Testo completoAbstract (sommario):
Current music recommendation systems can explore the general relationship between the users and songs to recommend music to the users; however, they cannot distinguish the different preferences of different users for the same song. For example, a user may like a song because of the singer, while another user will like it not for the singer but just because of the composition of the song or its melody. A recommender system that knows this difference would be more effective in recommending music to the users. To this end, this paper proposes a music recommendation model based on multilayer attention representation, which learns song representations from multidimensions using user-attribute information and song content information, and mines the preference relationship between users and songs. In order to distinguish the differences in user preferences for multidomain features of songs, a feature-dependent attention network is designed; in order to distinguish the differences in user preferences for different historical behaviors and to explore the temporal dependence of user behaviors, a song-dependent attention network is designed. Finally, the SoftMax function is used to calculate the distribution of users’ preferences for candidate songs and is used to generate recommendations. The experimental results on 30Music and MIGU datasets show that the proposed model achieves significant improvement in recall and MRR compared with the current recommendation models.
34
Lu, Meng, Du Pengcheng e Song Yanfeng. "Digital Music Recommendation Technology for Music Teaching Based on Deep Learning". Wireless Communications and Mobile Computing 2022 (23 maggio 2022): 1–8. http://dx.doi.org/10.1155/2022/1013997.
Testo completoAbstract (sommario):
With the rapid development of music streaming media service industry, users can easily hear any song on mobile devices. Internet has become a huge music storage platform. With the development of network and large-scale digital music industry, the acquisition and listening of music are presented to users in a more convenient way. How to find the music loved by users from the massive Internet digital music data has become the key problem and main goal to be solved in the field of music information retrieval. Personalized music recommendation system can accurately find and push songs that users may be interested in from tens of millions of huge music libraries according to users’ information under the condition that users only have vague demand for listening to songs. Relying on the traditional search method to find the music that you are interested in can no longer meet the needs of users, so the current music recommendation system needs to dig out the music that has no clear needs in the long tail to help people find their favorite songs.
35
Ye, Ye, e Erxin Wang. "Yuan-Ming Sanqu Songs as Communal Texts: Discovering Their Literary Vitality from a New Research Perspective". Journal of Chinese Literature and Culture 8, n. 1 (1 aprile 2021): 113–38. http://dx.doi.org/10.1215/23290048-8898648.
Testo completoAbstract (sommario):
Abstract When examining songs in Chinese literature, we can distinguish among literary, musical, and communal aspects of their circulation. Sanqu songs became popular in the form of musical texts in the Yuan and Ming dynasties, but the ci song lyrics, by the Southern Song dynasty (1127–1279) if not earlier, had already become a form of communal text in a broad sense. While relying on musical and literary aspects in the early stages of circulation, such ci song lyrics also became increasingly meaningful as social artifacts characterized by diverse forms of usage and participation, and they have been widely appreciated as a “literary-cultural phenomenon” unrelated to music per se. Standard histories of Chinese literature typically interpret the interaction between Song dynasty ci song lyrics and Yuan dynasty sanqu songs and song-drama as a natural evolution of literary forms. To be sure, these histories address the vitality of the musicality and popular nature of such songs while also paying attention to the artistic styles, inherent characters, and originality of sanqu song composition (tige xingfen 體格性分). From such an analysis, however, we know very little about the textual forms and mechanisms of transmission of Yuan-Ming sanqu songs beyond the realm of music and songwriters. In this regard, this article explores whether it was possible for the ci song lyrics, as a literary genre of greater maturity and higher status, albeit divorced from music, to transfer its literary experience to sanqu songs. Such a line of inquiry is also relevant to the study of the survival of various forms of Chinese musical literature beyond their original environments. It also helps us think about the complex relationships between the musical and communal functions of ci song lyrics and sanqu songs.
36
Riman, Kristina, e Helena Pavletić. "Poetske, tematske i leksičke značajke uglazbljene dječje poezije 19. stoljeća na primjeru tekstova Ljudevita Varjačića". Magistra Iadertina 14, n. 2 (16 novembre 2020): 87–102. http://dx.doi.org/10.15291/magistra.3148.
Testo completoAbstract (sommario):
In the second half of the 19th century, children’s poems were mostly published in periodicals and poem collections. Until now less attention has been devoted to the poems that had been set to music and included in the songbooks published in the late 19th century. Ljudevit Varjačić was the acclaimed author of children’s verses used for song lyrics. He is known as a particularly prolific collaborator of the Smilje magazine, whose songs were often set to music. Among other things, he also published “Lira”, a songbook with music notation for male and female school youth, and his poems were set to music in other songbooks for children and youth. Varjačić poems set to music are analysed in this paper with regard to their poetic, thematic and lexical features. His poetry is written with the well-defined overall metric pattern and rhyme, marked by pedagogical and ethical tendencies. Lexical analysis showed several topics on which Varjačić writes: songs that refer to physical work, songs that inspire learning, songs expressing love for mother, patriotic songs, religious songs, and songs about vacation and fun. Although some of these lyrics are still offered to children, we conclude that their poetic, thematic and lexical features are no longer close to the contemporary recipient.
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Prickett, Carol A., e Madeline S. Bridges. "Familiarity with Basic Song Repertoire: Music Education/Therapy Majors versus Elementary Education Majors". Journal of Research in Music Education 46, n. 4 (dicembre 1998): 461–68. http://dx.doi.org/10.2307/3345343.
Testo completoAbstract (sommario):
An audiotape of the tunes of 25 standard songs assumed to be known by everyone who has finished Grade 6 was played for 273 undergraduate music therapy and music education students and 306 elementary education students who were beginning a music skills class. Music majors identified significantly more tunes than did elementary education majors, but the means for both groups indicated that neither had developed a strong repertoire of standard songs outside the college classroom. Several songs that music educators have stated are very important for children to learn could not be identified by even half the students in either group. It is recommended that those preparing elementary education students emphasize building a song repertoire and that those teaching music therapy and education students consider adding this goal to appropriate courses.
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Ade Syafirna, Edi Suprayetno e Jonris Tampubolon. "Improving Listening Skills Through English Song at Seven Grade MTs Babusalam Besilam Academic Year 2022/2023". Journal of Classroom Action Research 2, n. 2 (5 settembre 2023): 43–51. http://dx.doi.org/10.52622/jcar.v2i2.162.
Testo completoAbstract (sommario):
This journal's purpose is to learn how music can be used to develop listening skills. One of the four foundational English language skills is listening. It appears that speaking, reading, and writing are among the other skills. These fundamental abilities are broken down into productive skills like speaking and writing and receptive skills like listening and reading. Songs and music are essential components of development and education. The use of music in the classroom has various benefits. The use of songs in the teaching of foreign languages has both supporters and opponents. The use of songs in the educational process, particularly during listening lessons, helps students develop their listening skills as one of their valuable techniques to deal with listening skill issues English songs are engaging, so they can encourage participation from the students and help them perform better on listening tasks. However, using songs to aid in listening has drawbacks. For example, popular music isn't always accurate, and inadequate sound systems in classrooms can interfere with listening to music.
Keywords: Listening Skill, English Song, English Students
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Saputra, Wahyudi, e Komala Dwi Syaputri. "FIGURATIVE LANGUAGE IN SELECTED LOVE-THEMED SONGS IN THE ALBUM "34 NUMBER ONES" BY ALAN JACKSON". Premise: Journal of English Education 13, n. 1 (23 febbraio 2024): 170. http://dx.doi.org/10.24127/pj.v13i1.8687.
Testo completoAbstract (sommario):
Alan Jackson is a country music singer who has enthusiasm for supporting and maintaining the existence of country music. Figurative language is found in many Alan Jackson songs, which makes it difficult for listeners to understand the meaning of the song lyrics. Country music was feared to disappear since country music fans are mostly adults. Thus, understanding the meaning of figurative language in Alan Jackson songs to avoid misunderstanding the meaning is also the aim of this research. A qualitative method was used while conducting this study, which was considered more suitable to be applied. Eighteen songs have been selected from the album “34 Number Ones” based on love themed. The result showed eighty-six data and thirteen types of figurative language found in the 18 Alan Jackson songs. This study found that the types of figurative language in the eighteen selected Alan Jackson songs appeared as additional words and established a consistent rhythm in the songs. Also, it impacted the meaning that was explained deeply in the songs. Hopefully, this study can provide knowledge of figurative language along with new insights for listeners and be a contribution to further research.
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Jeziński, Marek. "Obrazy miasta w utworach polskich grup alternatywnych lat 80. XX wieku". Kultura Popularna 3, n. 53 (26 febbraio 2018): 81–90. http://dx.doi.org/10.5604/01.3001.0010.8269.
Testo completoAbstract (sommario):
In the paper I analyse the ways in which a city, urbanism, city space and people living in urban environment are portrayed in Polish popular music, especially in the songs of Polish alternative bands of the 80. inthe 20th century. In popular music, the city is pictured in several ways, among which the most important is the use of words as song lyrics that illustrate urban way of life. The city should be treated as an immanent part of the rock music mythology present in the songs and in the names of bands. In the case of Polish alternative rock music of the 80.such elements are found in songs of such artists as Lech Janerka, Variete, Siekiera, Dezerter, Deuter, AyaRL. The visions of urbanism taken from their songs are the exemplifications used in the paper.
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Killingly, Callula, Philippe Lacherez e Renata Meuter. "Singing in the Brain". Music Perception 38, n. 5 (1 giugno 2021): 456–72. http://dx.doi.org/10.1525/mp.2021.38.5.456.
Testo completoAbstract (sommario):
Music that gets “stuck” in the head is commonly conceptualized as an intrusive “thought”; however, we argue that this experience is better characterized as automatic mental singing without an accompanying sense of agency. In two experiments, a dual-task paradigm was employed, in which participants undertook a phonological task once while hearing music, and then again in silence following its presentation. We predicted that the music would be maintained in working memory, interfering with the task. Experiment 1 (N = 30) used songs predicted to be more or less catchy; half of the sample heard truncated versions. Performance was indeed poorer following catchier songs, particularly if the songs were unfinished. Moreover, the effect was stronger for songs rated higher in terms of the desire to sing along. Experiment 2 (N = 50) replicated the effect using songs with which the participants felt compelled to sing along. Additionally, results from a lexical decision task indicated that many participants’ keystrokes synchronized with the tempo of the song just heard. Together, these findings suggest that an earworm results from an unconscious desire to sing along to a familiar song.
42
Benetti, Lucia, e Eugenia Costa-Giomi. "Infant Vocal Imitation of Music". Journal of Research in Music Education 67, n. 4 (17 dicembre 2019): 381–98. http://dx.doi.org/10.1177/0022429419890328.
Testo completoAbstract (sommario):
Infant vocal production has been studied mainly from the perspective of language development. We studied it from the perspective of singing development by analyzing a 15-month-old’s imitations of songs. The infant wore a recording device that yielded a continuous, 16-hr audio recording of all the sounds produced by him and around him throughout the day. We listened to the audio file and identified instances in which his unprompted vocalizations resembled songs he had heard earlier. One imitation was recognized by his father, who then sang the song himself and engaged in imitative turn taking with the infant; the other imitation went unnoticed by his parents. Perceptual and acoustic analyses of the imitations and the song models showed that the infant imitated critical music features of the songs, including pitches, intervals, and rhythms. We discuss the use of new technologies for the study of singing development in infancy; such technologies facilitate the collection of spontaneous vocalizations that may go unnoticed by parents and make it possible to trace connections between music environment opportunities and specific singing outcomes in infants.
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Yang, Chenghai. "Tibetan Folk Songs and Dances in Diebu – The Musical Characteristics of Gerba (Gar Pa)". Journal of Contemporary Educational Research 5, n. 8 (30 agosto 2021): 41–46. http://dx.doi.org/10.26689/jcer.v5i8.2412.
Testo completoAbstract (sommario):
Folk songs and dances originated from people’s sacrificial activities in the struggle against nature in the primitive society. Their origins are related to the ideology and living environment of the people at that period of time. These activities were expressed in the form of primitive songs and dances, and gradually evolved into folk songs and dances. The gar pa song and dance from Diebu, in Gannan region, is a unique song and dance of a Tibetan region on the eastern edge of Qinghai-Tibet Plateau. Its content and form are unique. It still retains the original trinity feature which includes poem, music, and dance. The production of songs and dances contains rich cultural connotations and unique local characteristics. This article elaborates the characteristics of Diebu’s gar pa song and dance in terms of its music and performance form.
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Salunke, Aniket, Ruchika Kukreja, Jayesh Kharche e Amit Nerurkar. "Personalized Suggestion For Music Based On Collaborative Filtering". International Journal of Engineering and Computer Science 9, n. 05 (20 maggio 2020): 25047–51. http://dx.doi.org/10.18535/ijecs/v9i05.4487.
Testo completoAbstract (sommario):
With the advancement of technology there are millions of songs available on the internet and this creates problem for a person to choose from this vast pool of songs. So, there should be some middleman who must do this task on behalf of user and present most relevant songs that perfectly fits the user’s taste. This task is done by recommendation system. Music recommendation system predicts the user liking towards a particular song based on the listening history and profile. Most of the music recommendation system available today will give most recently played song or songs which have overall highest rating as suggestions to users but these suggestions are not personalized. The paper purposes how the recommendation systems can be used to give personalized suggestions to each and every user with the help of collaborative filtering which uses user similarity to give suggestions. The paper aims at implementing this idea and solving the cold start problem using content based filtering at the start.
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Revuluri, Sindhumathi. "French Folk Songs and the Invention of History". 19th-Century Music 39, n. 3 (2016): 248–71. http://dx.doi.org/10.1525/ncm.2016.39.3.248.
Testo completoAbstract (sommario):
A favorite project of scholars in late-nineteenth- and early-twentieth-century France was to collect folk songs from various French provinces and to add new harmonic accompaniments before publishing them. This folk-song project, like so many others, has obvious nationalist undertones: gathering songs from every French province and celebrating an essential and enduring French spirit. Yet the nuances of this project and its broader context suggest a diverse set of concerns. An examination of the rhetoric around folk-song collection shows how French scholars of the period conflated history and geography: they made the provinces the place of history. Collecting songs from the provinces thus became a way of recovering France's past. Paired with contemporary discussions of musical progress and especially those related to harmony, the addition of piano accompaniments to monophonic songs now reads as a form of history writing. In this article, I argue that French music scholars of the fin de siècle acted out their preferred narratives of music history through folk-song harmonizations. What seemed like a unanimously motivated nationalist project actually reveals the development and contestation of the discipline of music history.
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Hu, Ke Nicole. "The Effects of Mood, Language, and Order of Songs on Writing Productivity". International Journal of Psychological Studies 13, n. 1 (21 gennaio 2021): 12. http://dx.doi.org/10.5539/ijps.v13n1p12.
Testo completoAbstract (sommario):
With music consumption being increasingly prominent in everyday modern life, it has become critical to examine the impact of music on the performance of cognitive tasks. Despite preexisting academic literature on the correlation between music and memorization, test-taking ability, and executive planning, conclusions from past studies regarding these cognitive tasks may not be directly applicable to writing, leaving the effects of music on writing tasks a relatively unexplored territory. Given the prevalence of music in the 21st century among all age groups, the current study explores the effects of induced mood (happy versus sad) and language (native versus foreign) of popular songs on writing productivity, measured by number of words written in a set time period. Participants in the experiment were randomly separated into four conditions based on the language and mood of songs, and each given two argumentative writing prompts to complete while listening to the songs assigned to them. Results revealed that the induced mood of the songs significantly affected the writing productivity, with participants listening to sad music producing word counts that are significantly higher than those given happy songs. No effects, however, were found for the language of the music’s lyrical content, suggesting that the language of a song has no significant impact on writing productivity.
47
Pradana, Yuda Adi, e Imas Emalia. "Dimensi Tasawuf dalam Musik Religi Bimbo, 1974-1980: Sebuah Kajian Sejarah". Buletin Al-Turas 26, n. 1 (10 febbraio 2020): 189–206. http://dx.doi.org/10.15408/bat.v26i1.14360.
Testo completoAbstract (sommario):
This article discusses Islamic da'wa delivered through music with its song lyrics. The purpose of this study is to uncover Islamic da'wa in Bimbo songs. Bimbo's type of music is categorized as seasonal music which is only popular at certain times, especially the month of Ramadan. The research used a historical approach to uncover the development of Bimbo songs, and a semantic approach is also used to analyze the meaning and Sufism message contained in their song lyrics. Based on data analysis conducted, it is known that in Indonesia, Bimbo was a music group established in Bandung in 1974 that pioneered religious music and songs. Bimbo started its career through pop music with love, politic, environment, and humor themes. For six years, the Bimbo music group has sung more than 50 songs adopted from Taufiq Ismail 's Islamic poetry some of which were about Sufism. The theme of Sufism in Bimbo songs illustrates the deep inspiration of the singer and creator so that it becomes separate preaching that is easily accepted by the community. It can be concluded that Bimbo, the religious music group was famous for its musical character and Islamic poetry which contains the Sufiems values. Artikel ini membahas tentang tema tasawuf sebagai dakwah Islam yang disampaikan melalui seni musik dalam syair-syair lagu. Tujuan penelitian ini adalah untuk mengungkap dakwah Islam dalam lagu-lagu Bimbo. Jenis musik Bimbo dikategorikan sebagai musik musiman yang hanya populer pada saat-saat tertentu, khususnya bulan Romadhan. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan sejarah untuk mengungkap perkembangan lagu-lagu Bimbo. Pendekatan semantik juga digunakan untuk menganalisis makna dan pesan tasawwuf dalam lagu Bimbo. Berdasarkan analisis data yang dilakukan, diketahui bahwa di Indonesia, musik religi Islam dipelopori oleh kelompok musik Bimbo asal Bandung pada 1974. Bimbo mengawali kariernya melalui musik pop yang bertemakan cinta, politik, lingkungan, dan humor atau jenaka. Selama enam tahun kelompok musik Bimbo telah menyanyikan lagu dengan syair islami karya Taufiq Ismail sekitar lebih dari 50-an lagu, bahkan ada yang bertemakan tasawuf. Tema tasawuf dalam lagu-lagu Bimbo menggambarkan penjiwaan yang dalam pada penyanyi dan penciptanya sehingga menjadi dakwah tersendiri yang mudah diterima di kalangan masyarakat. Dengan demikian dapat disimpulkan bahwa kelompok musik religi Bimbo terkenal dengan karakter musik dan syair islami yang mengandung nilai-nilai tasawuf. يناقش هذا البحث الدعوة الإسلامية التي يتم تقديمها من خلال فن الموسيقى في نصوص الأغاني. و الغرض من هذه الدراسة كشف الدعوة الإسلامية في أغاني بيمبو(Bimbo). أغاني بيمبو(Bimbo) موسيقى مؤقتة تحظى بشعبية كبيرة في أوقات معينة فقط، خاصة في شهر رمضان. و الطريقة المستخدمة في هذا البحث هي الطريقة التاريخية و الدلالية. استنادًا إلى تحليل البيانات الذي تم إجراؤه، من المعروف أن الموسيقى الدينية الإسلامية في إندونيسيا كانت رائدة في مجموعة Bimbo الموسيقية من باندونج في عام 1974. بدأ Bimbo مسيرته المهنية من خلال موسيقى البوب (Musik Pop) بعنوان: الحب، والسياسة، والبيئة، والفكاهة. على مدار ست سنوات، غنت مجموعة بيمبو الموسيقية أغاني الشعر الإسلامي يؤلف توفيق إسماعيل أكثر من 50 أغنية، و أن هناك الأغاني بالموضوعات الصوفية. و يوضح الموضوع الصوفي في أغنيات Bimbo الإلهام العميق للمغني والمبدع بحيث يصبح عظة منفصلة يتم قبولها بسهولة في المجتمع. لذلك، استنتج الباحث أن مجموعة بمبو(Bimbo) الموسيقية الدينية تشتهر بطابعها الموسيقي والشعر الإسلامي الذي يحتوي على القيم الصوفية ويؤثرعلى تطور الموسيقى في إندونيسيا أيضا.
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Rakib, NA, Md MB Sobhan, SMZ Farhan e MI Zaber. "Automatic classification of music based on the correlation between mood, linguistic and audio features". Bangladesh Journal of Scientific and Industrial Research 51, n. 1 (28 marzo 2016): 55–60. http://dx.doi.org/10.3329/bjsir.v51i1.27063.
Testo completoAbstract (sommario):
The emergence of the music in recent times has been enviable. Some people consider music to be an integral part of their regular lives, while others sometimes even consider music to be some divine inspiration setting the mood for them for the rest of the day. For such people, a well-trimmed precise playlist of the songs that they would love to listen to, based on genre or mood of the songs, is priceless. Genre of an individual song is very much available, as that information is mostly provided within the song, but getting to judge the mood of the song is much more of a challenge. If it is a challenge itself for one distinct song, then one can easily imagine the hassle that a person faces when selecting a playlist of songs from a huge library of music. This ultimately gives rise to the importance of the classification of music based on the mood of the individual songs.This paper establishes such a method, which ultimately works with a combination of features, such as the linguistic and audio features of a song to classify a song according to the mood the song represents or is appropriate for. These features are then used in conjunction with several metrics to find out their relevance or relationships and measured for validation purposes.Bangladesh J. Sci. Ind. Res. 51(1), 55-60, 2016
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Rolison, Jonathan J., e Judy Edworthy. "The Role of Formal Structure in Liking for Popular Music". Music Perception 29, n. 3 (dicembre 2011): 269–84. http://dx.doi.org/10.1525/mp.2012.29.3.269.
Testo completoAbstract (sommario):
the effect of restructuring the form of three unfamiliar pop/rock songs was investigated in two experiments. In the first experiment, listeners' judgements of the likely location of sections of novel popular songs were explored by requiring participants to place the eight sections (Intro – Verse 1 – Chorus 1 – Verse 2 – Chorus 2 – Bridge (solo) – Chorus 3 – Extro) of the songs into the locations they thought them most likely to occur within the song. Results revealed that participants were able to place the sections in approximately the right location with some accuracy, though they were unable to differentiate between choruses. In Experiment 2, three versions of each of the songs were presented in three different structures: intact (original form), medium restructured (the sections in a moderately changed order), and highly restructured (more severe restructuring). The results show that listeners' judgments of predictability and liking were largely uninfluenced by the restructuring of the songs, in line with findings for classical music. Moment-by-moment liking judgements of the songs demonstrated a change in liking judgements with repeated exposure, though the trend was downwards with repeated exposure rather than upwards. Detailed analysis of moment-by-moment judgements at the ends and beginnings of sections showed that listeners were able to respond quickly to intact songs, but not to restructured songs. The results suggest that concatenism prevails in listening to popular song at the expense of paying attention to larger structural features.
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Gale, Emily Margot. "Stolen Youth". Journal of Popular Music Studies 33, n. 1 (1 marzo 2021): 42–49. http://dx.doi.org/10.1525/jpms.2021.33.1.42.
Testo completoAbstract (sommario):
In 1847 Atwill of New York published “The Lament of the Blind Orphan Girl.” Composed by William Bradbury, the song is written for voice and piano in a lilting 3/8 meter. Mary, the song’s protagonist, sings of “the silvery moon” and “bright chain of stars” over diatonic harmonies. A dramatic shift to the minor mode supports the climax: “Oh, when shall I see them? I’m blind, oh, I’m blind.” Mary explains that she and her brother have also lost their parents. On the sheet music cover a wreath of flowers encircles an image of a young white woman kneeling beneath a tree, alone at a grave. The title page notes: “As sung with distinguished applause by Abby Hutchinson.” Orphan songs pervade nineteenth-century pop repertory. Scholars have analyzed Latvian, Hmong, Danish, and German orphan songs, but US orphan songs have generated little more than passing references. Other examples include: “The Orphan Nosegay Girl” with words by Mrs. Susanna Rowson from 1805; “The Colored Orphan Boy,” composed by C. D. Abbott and sung by S. C. Campbell of the Campbell Minstrels from 1852; and “The Orphan Ballad Singers Ballad” by Henry Russell from 1866. Orphans were not just a topic; in the latter half of the nineteenth century, actual parentless youth featured in bands such as the Hebrew Orphan Asylum Band of New York City. This paper connects the stolen childhoods in orphan songs to those of enslaved youth. If free children were aware of slavery and the movement to abolish it as historian Wilma King has shown, what did it mean for Abby Hutchinson, who started performing abolitionist songs with her brothers at age twelve, to sing as the sentimental stock character of the orphan? Songs like the one above may have been a way that young abolitionists empathized with enslaved youths robbed of their youths.