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Cho, Sunggi. "Development and Effectiveness of Smart Learning System for Music Appreciation." Korean Society of Music Education Technology 31 (April 16, 2017): 135–54. http://dx.doi.org/10.30832/jems.2017.31.135.
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The objective of this study is to develop smart learning system for music appreciation and also to verify its effectiveness to explore new methods of music appreciation education in the current condition when smart education using smart phone and mobile devices is emphasized. After understanding the type and method of music appreciation education and the characteristics of smart education through literature, the appreciation learning in smart learning system for appreciation education was designed, and then a smart learning system interlocking with App and Web was developed. In order to verify the effectiveness of the developed system, the system was applied to five classes of humanities high school. In the results, the smart learning system for music appreciation brought about the improvement of academic achievement and satisfaction, which verified its effect on appreciation learning. The results of this study would be significantly used as an idea/case for national smart education as a basic research data for music and other subjects. Also, the smart learning system realized through the results of this study is expected to be used as an effective tool of appreciation learning for every user including elementary/secondary schools, college students, and ordinary people.
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Luo, Yali, and Kritsakorn Onlamul. "Develop a curriculum for first-year students at Aksu vocational and technical college’s school of humanities and arts, focusing on teaching Chinese folk songs." Asian Journal of Contemporary Education 8, no. 1 (2024): 52–61. http://dx.doi.org/10.55493/5052.v8i1.5088.
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This research investigates the integration of Chinese folk songs into the curriculum at Aksu Vocational and Technical College, situated in the culturally diverse Aksu region of Xinjiang, China. This study identifies significant gaps in current music education methods, particularly the disconnect between theoretical learning and practical application, which hinders students’ ability to engage deeply with the material and develop employable skills. Employing a mixed-methods research design, both qualitative and quantitative approaches were used to develop, implement, and evaluate a teaching package specifically designed for first-year students. The package aimed to enhance students' understanding and appreciation of Chinese folk music, thereby improving their cultural competence and engagement with the academic content. The findings suggest that the new curriculum significantly boosted the students' knowledge of and connection to folk music traditions. It also facilitated a better understanding of the music’s historical, cultural, and social contexts. Moreover, the teaching package fostered essential skills in cultural awareness and academic involvement, contributing effectively to vocational music education in a multi-ethnic setting. This approach not only bridges the gap between theory and practice but also enriches the students’ educational experience by embedding cultural appreciation into the learning process, making a substantial contribution to the field of music education.
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Ramsey, Gordon P. "Teaching the connections between music and mathematics." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A26. http://dx.doi.org/10.1121/10.0022673.
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Mathematics is often perceived by students as being difficult. However, when they see how math and music are intimately related, their attitude often changes. Some of the most fundamental aspects of music are described by math. For example, the Circle of Fifths closely reflects musical structure and is used to create scales and chord progressions. The Circle is structured around the mathematical relations of frequency ratios of the corresponding notes in a 12-tone scale. The reactions to music of consonance and dissonance are related to the relative ratios of the notes in a chord or note sequence in a piece. The connection between music and math forms the basis for creating instruments that play the music. I will suggest ways to present these concepts to students for their greater appreciation of music and math.
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Gillespie, David C. "The Sounds of Music: Soundtrack and Song in Soviet Film." Slavic Review 62, no. 3 (2003): 473–90. http://dx.doi.org/10.2307/3185802.
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In this article, David C. Gillespie explores the deliberate foregrounding of music and song in Soviet film. He begins with a discussion of the structural and organizing roles of music and song in early Soviet sound films, including tiiose by Sergei Eizenshtein, Grigorii Aleksandrov, Ivan Pyr'ev, and Aleksandr Ivanovskii. Gillespie then focuses on the emphasis on urban song in some of the most popular films of the stagnation years, such as The White Sun of the Desert (1969) and Moscow Does Not Believe in Tears (1979), adding considerably to the appreciation of these films. To conclude, he analyzes folk music in films about village life, especially those directed by Vasilii Shukshin, and explores the role of music in constructing a mythical and nationalistic discourse.
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Omojola, Olabode F. "Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)." Africa 64, no. 4 (1994): 533–43. http://dx.doi.org/10.2307/1161372.
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The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as the nature of Bankole's musical training and experience. This provides an appropriate context for understanding and appreciating the stylistic features of Bankole's works. Drawing on examples from his works, the article establishes the eclectic nature of Bankole's style, in which European and African musical elements interact.
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Sari, Berliana N., and Dhany Arifianto. "Music appreciation on cochlear implant simulation with contour and temporal cues." Journal of the Acoustical Society of America 152, no. 4 (2022): A90. http://dx.doi.org/10.1121/10.0015645.
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The musical appreciation of the cochlear implant simulation user on the contour and temporal cues and the effect of the coding strategy are determined. Cochlear implant simulations were processed using continuous interleaved sampling (CIS) and spectral peak (SPEAK) coding strategies with varying numbers of channels. The experiments consist of contour identification, temporal cue discrimination, and familiar melody identification. The results show cochlear implant simulation users are poor at recognizing contour cues compared with normal hearing, but good at discriminating temporal cues from tempo and rhythm varied with contour, achieving scores close to normal hearing. A poor score was observed in familiar melody identification with pitch contour, compared to normal hearing scores, which correlated (r = 0.99) with the recognition of contour cues. Temporal cue information from rhythm helped cochlear implant simulation users recognize familiar melodies with an almost 40% increase in score compared to melodies without rhythm (p 0.05). Music appreciation was poor on the variation of coding strategy with the number of channels 2 to 6 CIS and good on the SPEAK coding strategy (compared with 22 channels condition). The studies emphasize the need for advances in coding strategies to deliver pitch contour cues to cochlear implant processing.
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Chang, Yuh-Jer, Ji-Yan Han, Wei-Chung Chu, Lieber Po-Hung Li, and Ying-Hui Lai. "Enhancing music recognition using deep learning-powered source separation technology for cochlear implant users." Journal of the Acoustical Society of America 155, no. 3 (2024): 1694–703. http://dx.doi.org/10.1121/10.0025057.
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Cochlear implant (CI) is currently the vital technological device for assisting deaf patients in hearing sounds and greatly enhances their sound listening appreciation. Unfortunately, it performs poorly for music listening because of the insufficient number of electrodes and inaccurate identification of music features. Therefore, this study applied source separation technology with a self-adjustment function to enhance the music listening benefits for CI users. In the objective analysis method, this study showed that the results of the source-to-distortion, source-to-interference, and source-to-artifact ratios were 4.88, 5.92, and 15.28 dB, respectively, and significantly better than the Demucs baseline model. For the subjective analysis method, it scored higher than the traditional baseline method VIR6 (vocal to instrument ratio, 6 dB) by approximately 28.1 and 26.4 (out of 100) in the multi-stimulus test with hidden reference and anchor test, respectively. The experimental results showed that the proposed method can benefit CI users in identifying music in a live concert, and the personal self-fitting signal separation method had better results than any other default baselines (vocal to instrument ratio of 6 dB or vocal to instrument ratio of 0 dB) did. This finding suggests that the proposed system is a potential method for enhancing the music listening benefits for CI users.
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Blake, David. "Musicological Omnivory in the Neoliberal University." Journal of Musicology 34, no. 3 (2017): 319–53. http://dx.doi.org/10.1525/jm.2017.34.3.319.
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This essay attributes the rise of inclusive values in recent musicological work to multicultural and neoliberal reforms in American universities. Musicological inclusivity is characterized through omnivore theory, a sociological theory of taste correlating educational attainment with a disposition for multicultural appreciation and a rejection of highbrow modes of exclusion. Analyzing discursive values using a corpus of 120 books published between 2010 and 2013, this essay elucidates three foundational values to musicology’s inclusiveness: an interest in studying diverse music; a predilection for inter- or transdisciplinary methodologies; and the rejection of musicology itself as outdated and hegemonic. The first two of these, derived from the multicultural turn in the humanities, offer fruitful ways for musicologists to interact with the diverse cultural and technological environs of contemporary academia. The third, however, reaffirms the neoliberal devaluation of organizations and specializations, casting musicology as a straw man that bears scant resemblance to the intellectual work currently undertaken within the discipline. In order to contest the neoliberal values that threaten the discipline’s institutional foundations, this essay contends that scholars should reframe musicology as an inclusive, democratic, and specialized intellectual community, a characterization that reflects recent scholarship more accurately than highbrow stereotypes.
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AYANGIL, RUHI. "Western Notation in Turkish Music." Journal of the Royal Asiatic Society 18, no. 4 (2008): 401–47. http://dx.doi.org/10.1017/s1356186308008651.
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The adoption of western notation (which is an example of graphic notation) as the “official system” in Turkey dates from after 1828. Sultan Mahmud II (reigned 1808–1839) abolished the Janissary force in 1826 and with it the musical unit of that army, it was a band for wind and percussion instruments (Mehterhâne-i Hümâyûn). He then organised his new army on western lines and thus introduced an institution of western origin, the military band, as the musical unit of his modern army. This new institution, which was European in its music system, instruments, repertoire and first and foremost its methods of education, was formed under the name Muzika-i Hümâyûn (the royal military band). Professional musicians were invited from Europe to participate and, with the foundation of Muzika-i Hümâyûn in 1827, the most far-reaching change in Turkish musical history took place. It was an outstanding manifestation of westernisation which necessarily made a deep impact on both the Turkish makam (modal) music system and the existence and the behaviour of the musicians who produced and performed it. The domination of makam music and its masters in court circles and their claim to be the sole and absolute system of taste was undermined, although the appreciation and respect of certain sultans and bureaucrats continued on a personal level. From that date on, a duality, an East-West dichotomy (the effects of which can still be seen), overtook the cultural sphere of which music was a part. Within this dichotomy, tonal polyphonic music of the West began to make its influence felt at least as much as, if not more than, makam based Turkish music both within the state framework and in the society at large. These dual concepts were referred to as Alla Turca and Alla Franga. While Alla Franga (alafranga in common parlance) came to symbolise modernity, change and the new life style, Alla Turca (alaturka in common parlance) became a manifestation of being archaic and conservative and of having a blind commitment to tradition and an under-developed taste (even no taste at all). Within this series of dichotomies, which took hold of every area of life (from literature to fashion also, eating habits, systems of beliefs, and education as well as government) makam based Turkish music received a large share of “cultural negation” with the judgement that it did not even have a decent notation system. It became marginalised and restricted to a narrow social group deeply and passionately devoted to it. Even during this process, makam music developed a dynamic of self-protection against “cultural negation” with its composers, theorists, publishers, performers and listening public. Makam music composers and performers learnt western notation, they wrote pieces down and deciphered music from that notation; a system of education based on modern methods developed while still preserving meşk (the traditional oral teaching method of Turkish music). These efforts were driven by the ‘ideal’ of transforming makam music, which was claimed to be archaic due to its monodic structure, into a polyphonic music. The musicians who knew western notation (such as Melekzet Efendi, Leon [Hancıyan] Efendi, etc.) were paid great amounts of money in order to record the works of the old masters in western notation and compile them, along with new compositions, into extensive note-collections (such as Muzika-i Hümâyûn Kumandanı [the commander of the royal military band] Necîp Paşa Collection and the Pertev Paşa Collection, etc.). Works were also published in note editions (such as Mâlûmat [literally meaning knowledge], Müntehâbât [literally meaning selections], Ûdî [lute-player] Arşak editions, etc.). Moreover, educational guides devoted to teaching makam theory and solmisation (such as Tanbûrî Cemîl Bey's Rehber-i Mûsikî [The Music Guide], Muallim [teacher] İsmail Hakkı Bey's Mahzen-i Esrâr-ı Mûsikî [The Cellar of the Secrets of Music], Muallim Kâzım Bey's Mûsikî Nazariyâtı [Music Theory], etc.) and the first methods for learning the instruments of makam music (such as Ûdî Salâhî Bey's Ud metodu [Lute Method], Seyyid Abdülkaadir Bey's Usûl-i Ta'lîm-i Keman [Method for Practising Violin, etc.], modelled on their European counterparts, were beginning to be published.
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Worland, Randy. "Combination tones and multiphonics in a physics of music lab." Journal of the Acoustical Society of America 152, no. 4 (2022): A54. http://dx.doi.org/10.1121/10.0015516.
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Laboratory exercises related to multiphonic tones in wind instruments have been developed for use in an undergraduate Physics of Music class. Although the concepts of nonlinear mixing and production of combination tones can be challenging to present at a non-technical level, a hand’s-on (mouth’s-on!) approach allows students to can gain a visceral and aural appreciation of this type of mixing and its musical use by wind players. The exercises make use of inexpensive free-reed pitch pipes. A pair of pipes can be played independently, producing a linear combination of the two sources, and as a pair of coupled nonlinear oscillators, resulting in combination tones. The differences between the two types of mixing are heard and viewed on a spectrogram in real time. Unlike multiphonics produced by advanced woodwind and brass players, every student can produce these combination tones with pitch pipes. Most can also sing a fixed pitch while playing a pipe to achieve another multiphonic effect. The exercises are readily extended to harmonicas, as available, where difference tones are often heard quite clearly, and the nonlinear mixing forms an essential part of the instrument’s timbre. Additional multiphonic examples are also illustrated.
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Lanka, Surekha. "Application of Hybrid Filtering Strategies in Music Recommendation System." Journal of Ubiquitous Computing and Communication Technologies 4, no. 3 (2022): 159–69. http://dx.doi.org/10.36548/jucct.2022.3.004.
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Everyone has their own distinct musical preferences; it's safe to assume that each music will find an appreciative audience. It's important to note that there isn't a single human society that has ever survived without music. There are two major gains from this study. Initially, a multi-strategy approach is taken to develop hybrid recommendation algorithms that give more accuracy than the existing algorithms. Also this hybrid algorithm is used to find new music in real time. This allows the algorithm to make an educated guess as to which musician and song best suit the user. As a second step, a general context-aware and emotion-based customized music framework is offered to facilitate the quick growth of context-aware music recommendation systems and to shed light on the whole recommendation procedure. Multiple methods exist for responding to requests, and a general framework is required for both collecting these methods and interpreting them within the context of the proposed framework. The kind of recommendation algorithm used is decided by the format of the input.
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Leder, Helmut, Pablo P. L. Tinio, David Brieber, Tonio Kröner, Thomas Jacobsen, and Raphael Rosenberg. "Symmetry Is Not a Universal Law of Beauty." Empirical Studies of the Arts 37, no. 1 (2018): 104–14. http://dx.doi.org/10.1177/0276237418777941.
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Scientific disciplines as diverse as biology, physics, and psychological aesthetics regard symmetry as one of the most important principles in nature and one of the most powerful determinants of beauty. However, symmetry has a low standing in the arts and humanities. This difference in the valuation of symmetry is a remarkable illustration of the gap between the two cultures. To close this gap, we conducted an interdisciplinary, empirical study to directly demonstrate the effects of art expertise on symmetry appreciation. Two groups of art experts—artists and art historians—and a group of non-experts provided spontaneous beauty ratings of visual stimuli that varied in symmetry and complexity. In complete contrast to responses typically found in non-art experts, art experts found asymmetrical and simple stimuli as most beautiful. This is evidence of the effects of specific education and training on aesthetic appreciation and a direct challenge to the universality of symmetry.
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Jeon, Jin Yong, Haram Lee, Hyowon Yoon, Beta Bayu Santika, Dongchul Park, and Juin Kim. "Transitioning concert hall soundscapes to vehicle interiors based on psychoacoustic evaluations." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A270. http://dx.doi.org/10.1121/10.0023492.
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In this study, in line with the paradigm shift in the design of interior spaces for future autonomous vehicles, the vehicle interior spaces were categorized according to their suitability for music appreciation and a design for an optimal soundscape design to that of a concert hall was proposed. Based on the sound field investigation conducted with 360-deg camera video and binaural audio recorded inside the vehicle, audibilized computer models were created in a virtual reality environment for comparison with conventional rectangular halls. These models' auralization audio files were subject to a psychoacoustic evaluation experiment of the soundscape. Evaluation indicators were selected based on the collected data, and through a comparative analysis of these indicators, parameters for transitioning the soundscape of a concert hall into a vehicle interior were proposed.
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Wertz, S. K. "G. H. Mead: Socially Structured Aesthetic Experiences." Journal of Aesthetic Education 56, no. 4 (2022): 1–11. http://dx.doi.org/10.5406/15437809.56.4.01.
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Abstract In speaking of his analyses, George Herbert Mead (1863–1931) announces: “It is behavioristic where the approach to experience is made through conduct.” He turns this approach to the practice of the arts and the aesthetic experience. His approach consists of an analysis of gestures and attitudes as the beginning of acts that we bring with us to the activities in which we are engaged. A gesture would be, for example, offering someone a chair who has entered a room. Usually gestures and their responses form a conversation, in this case, acceptance or rejection of the offer. The attitude behind the offer would be generosity and friendliness—a sign of welcome. Within music, “a temporal dimension as that of the melody, or recognition of the notes and their distance from each other in the scale, and our appreciation of these as actually affected by the beginning of our response to the later notes, as when we are expecting a certain sort of ending . . . . It is that attitude that gives the character of our appreciation of all extended musical compositions.” Instead of the part–whole understanding of the arts, he argues for a whole–part relationship within a social context of the actions that make up a performance or object. How far will this thesis take us? I explore answers to this question.
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Frosch, James P. "An Appreciation of Tony Kris." American Imago 78, no. 4 (2021): 703–9. http://dx.doi.org/10.1353/aim.2021.0037.
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Lewis, Jessica, Irina Castellanos, and Aaron C. Moberly. "Bilateral cochlear implants or bimodal hearing: A comparison of quality of life." Journal of the Acoustical Society of America 152, no. 4 (2022): A197. http://dx.doi.org/10.1121/10.0016014.
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Current literature suggests that bimodal users (i.e., individuals using a cochlear implant—CI—and a contralateral hearing aid) may report better outcomes in some listening situations (e.g., pitch perception and music appreciation) than bilateral CI users; however, several studies report conflicting results. Currently, there is no widely accepted criterion for bilateral simultaneous or sequential CI candidacy in adults, and clinicians typically rely on the patient’s experience to determine whether bilateral or bimodal hearing is best for that individual. Therefore, in this study we compare responses from twenty-four bilateral and bimodal users on the Cochlear Implant Quality of Life (CIQOL) questionnaire. Results demonstrated that bilateral CI users report better scores for the emotional, environmental, social, listening effort, and global scales than bimodal users. No significant difference in age, speech recognition abilities, and duration of hearing loss between the two groups were observed; however, the two groups did differ on their duration of CI use, such that the bimodal users had less experience listening with their CIs than the bilateral CI users. These findings do not replicate previous in-lab results, which demonstrate a bimodal user advantage and stresses the need to further explore the self-reported benefits of bimodal versus bilateral CI hearing.
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Lovell, David, William Martens, Jake Bradford, et al. "Comparison of independent, participant-led, high-resolution studies of pitch-matching in post-lingual single-sided cochlear implant recipients." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A28. http://dx.doi.org/10.1121/10.0022677.
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Understanding “what the world sounds like to someone else“ is fundamental to developing technologies and therapies to improve auditory perception for people with hearing impairment. Post-lingual single-sided deaf (SSD) cochlear implant (CI) recipients can play a special role here through their ability to compare perceptions of sounds heard acoustically and “electrically.” Pitch is, ostensibly, a sonic attribute that can be quantitatively compared, and pitch perception has been studied by asking SSD CI recipients to rank or discriminate limited sets of pitches, mindful of the burden on experimental participants. Through unusual circumstances, we have independently conceived and conducted two sets of participant-driven pitch-matching experiments on authors WM and DL gaining more data and richer insights than reported elsewhere. While our findings are consistent with existing lower-resolution studies (e.g., sounds perceived via CI are at higher pitch than via normal hearing), we have gained much more detailed quantitative and qualitative descriptions of those perceptual differences. Results can be meaningfully compared after accounting for individual differences and suggest that the CI transformation of pitch information for these two recipients could be individually adjusted to improve music appreciation, particularly with respect to restoring perception of musical intervals between successive notes.
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Goods, Daniel E. "Revelations at the Jet Propulsion Laboratory." Leonardo 38, no. 5 (2005): 376–81. http://dx.doi.org/10.1162/leon.2005.38.5.376.
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The author's 2 years of developing installations for the Jet Propulsion Laboratory have led him to an appreciation of how similar his thinking and work process are to those of the laboratory's engineers and scientists. For both, certain ideas and processes at first appear crazy and impracticable, but vision and persistence bring them to realization. The three installations described in this article pertain to a future mission that, if successful, will locate a planet similar to Earth and once again change humanity's understanding of its position in the universe.
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Bryan, Jenny. "Philosophy." Greece and Rome 65, no. 2 (2018): 269–77. http://dx.doi.org/10.1017/s0017383518000220.
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Three recent volumes indicate a growing appreciation of the significance and complexity of Plato's account of mousikē in the Laws. Anastasia-Erasmia Peponi's edited work, Performance and Culture in Plato's Laws, collects fifteen diverse chapters by prominent scholars in Greek literature, philosophy, and culture to produce an immensely rewarding and original range of perspectives on Plato's treatment of performance and poetics in the Laws. As Peponi notes in her brief introduction, the complexity of the cultural background that Plato manipulates and appropriates in the Laws, as well as the intricacy of the Platonic appropriation itself, combine to present a very real challenge to any scholar seeking to understand them. In addition, it is hard to see that any robust treatment of the Laws’ political theory can avoid getting to grips with the fundamental connections between politics and performance established within the dialogue. Any reader with an interest in either Plato's political philosophy or his poetics will be well rewarded by time spent with this volume. The chapters are divided into four sections, which focus in turn on issues of cultural identity (‘Geopolitics of Performance’), the role of the choruses in Magnesia (‘Conceptualising Chorality’), the Laws’ treatment of genre (‘Redefining Genre’), and the later reception of the Laws’ poetics (‘Poetry and Music in the Afterlife of the Laws’). In the second of the volume's two chapters on cultural identity, Ian Rutherford considers the Laws’ representation of Egypt as a culture that successfully resists political and moral decline via a commitment to stability in mousikē. Setting Plato's account against the external evidence, Rutherford suggests that the Laws offers a partial fiction of stable Egyptian mousikē, useful not least for the implications of its possible critical connection to Dorian culture. In the last of five chapters on the Laws’ interest in the civic apparatus of choral performance, Peponi demonstrates the singularity of choral performance in the work. Whereas the Laws treats most types of performance as producing pleasure in the spectator, in the case of choruses, the emphasis is on the pleasure and experience of the performers. Peponi argues that this shift in focus represents a Platonic attempt to ‘de-aestheticize’ the chorus. In this way, Plato seeks to rehabilitate mousikē by divesting it of the psychological and aesthetic flaws identified in the Republic’s extended critique. However, as Peponi notes in conclusion, the Laws is not altogether comfortable with this sort of performative pleasure. In the first of five chapters on genre, Andrea Nightingale discusses the Laws’ manipulation of generic diversity in service of the unified truth represented by the law code at its heart. Nightingale presents a fascinating and original analysis of the law code as a written text rather different in character from that criticized in the Phaedrus as a pharmakon that destroys our memory of truth. Rather, it serves to encourage the internalization of truths by obliterating the citizens’ memories of previous unwanted cultural norms. In the volume's final chapter, Andrew Barker turns to Aristoxenus for help in making sense of Plato's suggestion that music can be assessed as ‘correct’ or ‘incorrect’, or as ‘good’ or ‘bad’. Contrasting the Platonic focus on mimesis and ethical correctness with Aristoxenus’ assessment of music ‘by the standard of its own intrinsic values’ (413), Barker suggests that, of the two treatments, Plato's is the furthest removed from general Greek opinion. These varied and illuminating chapters are representative of the scope and quality of the volume, which not only serves to open up new directions for research on the Laws but also makes plain that the Laws is at least as important as the Republic for a thorough understanding of Plato's views on art and culture, and their relation to politics.
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Barbour, K. K. "Music Appreciation." Literary Imagination 17, no. 1 (2013): 112–13. http://dx.doi.org/10.1093/litimag/imt041.
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Paquette, Sebastien, Samir Gouin, and Alexandre Lehmann. "Utilizing auditory emotion bio-markers, the underpinning of emotion perception improvement in cochlear implant users." Journal of the Acoustical Society of America 153, no. 3_supplement (2023): A285. http://dx.doi.org/10.1121/10.0018863.
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Cochlear implants (CI) have had tremendous success restoring a sense of hearing in the deaf. However, even after months of intensive rehabilitation, many CI users struggle with appreciating emotive tones in speech and music despite good speech comprehension. Failure to perceive emotional expression can result in maladjusted social behaviour, leading to detrimental socio-economic consequences. Recent advances in automated pattern identification of neuroimaging data can bring empirical support to developing training programs for emotion perception rehabilitation in CI users. We used a machine-learning approach to identify emotion-processing bio-markers in high-density electroencephalograms collected from CI users (22) and matched normal-hearing controls (22). Participants’ brain responses elicited by short musical and vocal emotional (happy, sad, and neutral) stimuli were used to train an algorithm to help identify, in each group, the pattern of brain responses that can best predict the presented emotion. Using this approach, we were able to confirm the presence of emotion-specific patterns of brain activity in CI users despite their reported emotion perception deficit. Identifying these patterns brings forward support for implementing a rehabilitation program for emotion perception for this population; if an algorithm can differentiate aurally presented emotions, perhaps CI users can learn to discriminate emotions.
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Strauss, Batia. "Music Appreciation through Participation." British Journal of Music Education 5, no. 1 (1988): 55–69. http://dx.doi.org/10.1017/s0265051700006331.
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A teaching method is described which is based on activity and participation in relation to recorded musical performances. The principles of repertoire choice are that it should represent various styles; that the expressive content should be in the realm of the emotional world of children; that there should be at least one compositional device in the music which is perceivable from the point of view of students. The relationship of participation and listening is explored through practical illustrations.
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Regelski, Thomas A. "‘Music appreciation’ as praxis." Music Education Research 8, no. 2 (2006): 281–310. http://dx.doi.org/10.1080/14613800600779584.
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Dunn, Anne. "Music Appreciation Students and their Commitment to Music." British Journal of Music Education 2, no. 2 (1985): 195–209. http://dx.doi.org/10.1017/s0265051700004812.
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This article is based on research undertaken in adult education institutes of the Inner London Education Authority, and gives statistical details of students attending Music Appreciation classes. Their reasons for attending such classes, preferences for types of music attendance at performances, membership of musical societies and reading of books and articles on music are included. They were also asked to give details of their home listening, as this provides further proof of the commitment given to music by people who meet together once a week to learn about the subject.From these personal details it should be possible for a tutor to devise a curriculum of interest which would stimulate adults to be more deeply involved in music-making.
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Wang, Qian, and Simin Wu. "Creative Music Appreciation Class Design Using Movie Music." Journal of Humanities and Social sciences 21 13, no. 5 (2022): 2433–44. http://dx.doi.org/10.22143/hss21.13.5.170.
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Woody, Robert H., and Kimberly J. Burns. "Predicting Music Appreciation with Past Emotional Responses to Music." Journal of Research in Music Education 49, no. 1 (2001): 57–70. http://dx.doi.org/10.2307/3345810.
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This study is an exploration of the musical backgrounds and beliefs of nonmusicians and the relationship of these variables to music appreciation factors. Subjects were 533 college students enrolled in 17 sections of courses in Music Appreciation and Music for Classroom Teachers. Subjects completed a questionnaire regarding their musical backgrounds, preferences, and beliefs and then heard and responded to four highly expressive classical music excerpts. Data analyses indicated significant relationships between certain musical background factors and responsiveness to classical music. More specifically, past emotional experience with classical music was a reliable predictor of music appreciation, as measured by appropriate recognition of expression and willingness to listen to classical music on one's own time. Implications are drawn regarding approaches for teaching classical music to nonmusicians, including increased focus on expressive qualities in music listening experiences.
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Matoš, Nikolina, and Ana Čorić. "Levels of Music Appreciation as a Challenge for Music Curriculum." English version, no. 10 (October 22, 2018): 87–101. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.87.
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Introduction to music takes place in all kinds of formal and informal contexts. Nowadays, virtual environment is an equal, perhaps even dominant factor. What follows is that the triad of “author - work - audience” is implemented in different ways. By interacting with music, the student becomes an active researcher and a co-creator, which is a prerequisite for music appreciation. In this paper, we will conduct theoretical and empirical research of different levels of music appreciation, and discuss the opportunity of acquiring this complex competency in the educational process.
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Madalozzo, Tiago, and Vivian Dell’ Agnolo Barbosa Madalozzo. "Active music listening: Promoting music and movement in early childhood music education." International Journal of Music in Early Childhood 14, no. 2 (2019): 211–23. http://dx.doi.org/10.1386/ijmec_00006_1.
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This article’s premise is that listening can be an engaging and important way for children to interact with music, using movement and their entire bodies, leading to music learning. We present the concept of active music listening defined by different authors, as a strategy for working with music appreciation involving a completely active attitude of the listener ‐ linking a cognitive process of interpretation with the fundamental use of movement to reflect musical aspects of a determined piece. In the first section, we propose that listening is an important part of music learning, examining Swanwick’s and Boal-Palheiros and Wuytack’s works, presenting active music listening as an appreciation mode that involves high levels of attention, intention and activity from the listener. In the section that follows, we introduce active music listening as a part of the music class, reporting Zagonel’s as well as Wuytack and Boal-Palheiros’ approaches, defining musical structures that can be activated with listening exercises by more than twenty ways of activation. We discuss our way of locating these exercises on a music lesson plan. The mentioned strategies are illustrated in four ideas of active music listening exercises directed to children, selected from our daily practices. Finally, we discuss the main concepts and practices presented, with concluding remarks and implications for early childhood music education.
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Huang, Hao. "Music Appreciation Class Broadening Perspectives." Music Educators Journal 84, no. 2 (1997): 29–33. http://dx.doi.org/10.2307/3399066.
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Levinson, J. "The Aesthetic Appreciation of Music." British Journal of Aesthetics 49, no. 4 (2009): 415–25. http://dx.doi.org/10.1093/aesthj/ayp043.
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Mithen, Steven. "Music appreciation: not for beginners." New Scientist 205, no. 2749 (2010): 48. http://dx.doi.org/10.1016/s0262-4079(10)60483-6.
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Shen, Qiangwei. "The influence of music teaching appreciation on the mental health of college students based on multimedia data analysis." PeerJ Computer Science 9 (September 26, 2023): e1589. http://dx.doi.org/10.7717/peerj-cs.1589.
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The mental health problem of college students has gradually become the focus of people’s attention. The music appreciation course in university is a very effective approach of psychological counseling, and it is urgent to explore the role of music appreciation in psychological adjustment. Therefore, we propose an emotion classification model based on particle swarm optimization (PSO) to study the effect of inter active music appreciation teaching on the mental health of college students. We first extract musical features as input. Then, the extracted music appreciation features generate subtitles of music information. Finally, we weight the above features, input them into the network, modify the network through particle swarm optimization, and output the emotional class of music. The experimental results show that the music emotion classification model has a high classification accuracy of 82.6%, and can obtain the emotional categories included in interactive music appreciation, which is helpful to guide the mental health of college students in music appreciation teaching.
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Han, Jeoung Yeoun, and Youngshin Go. "Designing a lesson model for music appreciation using ZEP." Korean Society of Music Education Technology 57 (October 16, 2023): 161–79. http://dx.doi.org/10.30832/jmes.2023.57.161.
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The purpose of this study is to design a lesson model for music appreciation using ZEP. For the literature review, the researcher examined music appreciation and ZEP utilization classes. The main focus was to explore the stages of music appreciation presented by musicologists and music educators in Korea and overseas and adopt the stages of music appreciation appropriate for the use of ZEP. The second is to explore previous studies related to ZEP, and among them, studies that focus on the places constructed in ZEP and enhance the learning effectiveness in various situations and environments were selected. As a result of this study, we describe the principles of design and application of the model for music appreciation using ZEP. This is a pre-study for the implementation of a lesson using ZEP, music appreciation using the metaverse platform ZEP following the design principle, and a lesson plan. Classes using ZEP in music field are rare. However, through this study, music teachers should change the attitude of students (listeners) according to the changes in learning space of music appreciation using ZEP, induce them to be more immersed in musical works, and enhance the learning effectiveness by providing an environment where they could appreciate music from various perspectives.
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Haizhen, He. "Comparative appreciation of Western classical music and Chinese national music." Music Report 2, no. 2 (2020): 55–59. http://dx.doi.org/10.35534/mur.0202009c.
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Jo, Eun-Sook. "2022 Revised Music Curriculum-based Elementary Music Textbook Exploration of the direction of Korean Traditional Music Curriculum." Korean Society of Music Education Technology 59 (April 16, 2024): 169–98. http://dx.doi.org/10.30832/jmes.2024.59.169.
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The purpose of this study is to compare and review the characteristics of the 2015 and 2022 revised music curriculum, analyze the contents of Korean traditional music instruction in eight elementary music textbooks in the 3rd and 6th grades reflecting the 2015 revised music curriculum, and propose a direction for writing Korean traditional music textbooks based on the 2022 revised music curriculum. The results of the study are summarized as follows. First, the content system of the 2015 revised music curriculum consisted of three areas: expression, appreciation, and daily life, and the expression area was mainly composed of singing, performing, and creative activities. Focusing on the explicit and independent form of Korean traditional music instruction in elementary music textbooks, it was classified and reviewed into factors such as the number of units(sanction songs) for each area, sub-areas according to the activity content, the number of programming pages, the time difference, and the organization rate. As a result, the contents of Korean traditional music instruction in 8 types of elementary music textbooks were, on average, linked to activities in 8 to 9 units(sanction songs) in the expression area and various sub-areas, a total of 16 to 20 pages, a total of 16 to 20 sessions, around 25%; linked activities in 2 to 3 units(sanction songs) in the appreciation area and various sub-areas, a total of 5 sessions, around 7%; linked activities in one unit(sanction songs) in the daily life area and several sub-areas, a total of 1 to 2 pages, a total of 1st sessions, less than 1 to 5%. On the other hand, it was found that within the same textbook, the organization rate by area showed a rather large variation by grade group. Second, the 2022 revised music curriculum was designed in three areas: performance, appreciation, and creation, unlike the previous curriculum. Accordingly, the direction of organizing the Korean traditional music instruction contents of elementary music textbooks to be developed in the future should be linked to the expansion of performance activities centered on differentiated singing and instrumental music, the presentation of continuous appreciation activities, and the implementation of reinforcement of differentiated and independent creative activities. In addition, based on explicit and independent units, the 2022 revised elementary music textbook Korean traditional music instruction content should be at least 27 sessions and at least 40% of the organization rate in all music textbooks. Specifically, six to eight units(sanctioned songs) in the performance(singular and instrumental music) area, a total of 15 sessions or more, 22% or more; two to three units in the appreciation area, a total of six sessions or more, 9% or more in the organization rate; two to three units in the creative area, a total of six sessions or more; a ratio of 3:1:1 in the three areas of performance, appreciation and creation; It is suggested that the organization rate be arranged in a balanced manner so that the deviation of the organization rate by area is not too large by grade group. However, it should be noted that the number of units(sanction songs) can be added or subtracted depending on the autonomy of the publisher's writers, and various activities such as body expression and play should be designed to be integrated with the main area's activities. The total organization rate increases further because the contents of Korean traditional music are integrated and organized through Western music, multicultural music, concerts, and unit arrangements.
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Wang, Yanan, Fei Yang, and Yinghan Wang. "Collaborative Improvement Mechanism of Preschool Children's Music Appreciation Ability and Mental Health Level." American Journal of Health Behavior 47, no. 4 (2023): 737–46. http://dx.doi.org/10.5993/ajhb.47.4.9.
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Objectives: Our aim was to explore the collaborative improvement of children's music appreciation ability and mental health level, so as to promote the application of music education in preschool children's mental health education activities. Methods: We first established a mathematical model for the degree of order and degree of collaboration of the complex system for the collaborative improvement of preschool children's music appreciation ability and mental health level; and then, based on the evolutionary game theory, we analyzed the choices of strategy in the 2 subsystems‐music appreciation ability cultivation and mental health improvement‐in the process of collaborative cultivation; finally, we investigated the preschool children's music appreciation ability and mental health level before and after the implementation of the collaborative improvement mechanism, and conducted regression analysis and correlation analysis on preschool children's music appreciation ability and mental health level. Results: We found that with the improvement of music appreciation ability, the mental health level of preschool children also improved. After the implementation of the collaborative improvement mechanism, all indicators of the music appreciation ability and mental health level of the preschool children were higher than those before the implementation of the mechanism. Conclusions: There is a positive correlation between preschool children's music appreciation ability and their mental health level, and the collaborative improvement mechanism proposed is effective.
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Yoon, SungWon. "Development of Virtual Reality Education Contents for Raising Music Appreciation Ability." Korean Society of Music Education Technology 59 (April 16, 2024): 1–19. http://dx.doi.org/10.30832/jmes.2024.59.1.
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The purpose of this study is to develop virtual reality education content for the cultivation of music appreciation ability. Under this goal, the investigator designed the study in a structure of basics, designs, and results. Chapter 2 for the basics of the study examined the background of developing virtual reality education content, the concept and stages of raising music appreciation ability, and the principle of universal design for learning. Chapter 3 for the research design describes the nature of developing virtual reality education content to raise music appreciation ability, the eight courses of virtual reality education content to raise music appreciation ability, and the application of the universal design for learning principle to the development of virtual reality education content. Based on them, Chapter 4 for findings discussed the development of virtual reality education content to raise music appreciation ability in four paragraphs covering the teaching and learning principles to develop virtual reality education content for raising music appreciation ability, the content system of each teaching and learning course, the direction to develop a teaching and learning course, and assessment. Based on these findings, the study made the following proposals for a follow-up study: first, music subject educators should understand virtual reality education content in an approach of educational technology and conduct research on ways to apply it to teaching and learning; and secondly, music subject educators should be fully aware of the characteristics of music subject education in an approach of subject pedagogy and sophisticate the development process of music appreciation ability as the basis of singing, instrumental music, creation, and appreciation activities in music subject education.
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kang, sun ha. "The Problems an Improvement Direction of High School Music Appreciation and Criticism Textbook." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 17 (2023): 1–15. http://dx.doi.org/10.22251/jlcci.2023.23.17.1.
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Objectives This study examines the problems in the contents of high school textbook Music Appreciation and
 Criticism, and proposes improvement directions accordingly.
 Methods For this purpose, the 2015 revised textbook Music Appreciation and Criticism's unit composition, organization,
 and Gugak contents were analyzed.
 Results The problems of high school music appreciation and criticism education are, first, that Gugak is not universally
 covered in music. Second, the majority of music pieces overlapped with general Music textbooks, and
 third, the fact that the description of Gugak was remarkably lacking compared to Western music history, and
 fourth, there was no concept and critical awareness of Gugak criticism. Since music appreciation and criticism education
 is a special subject for students majored in music, it should have more advanced content than general
 Music textbooks, but there was room to instill musical prejudice.
 Conclusions The improvement direction for these problems is, first, to understand Korean traditional music
 universally. Second, a critical mind about the criticism of Gugak will be preceded. Third, future-oriented education
 with the context of the times was to be pursued. Fourth, appreciation music was to be presented in a more diverse
 way and learning contents were to be converged. When these suggestions for improvement are fully considered
 and improved, the appreciation and criticism of Gugak can also develop in a creative direction.
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Li, Xiumin. "Digital Development Path of Music Appreciation Based on the Kalman Filter." Mathematical Problems in Engineering 2022 (September 7, 2022): 1–9. http://dx.doi.org/10.1155/2022/3765078.
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For a long time, due to the influence of curriculum orientation and examination-oriented education, the learning of music appreciation courses has not been paid much attention. This makes the teaching method in music appreciation teaching single, the classroom effect cannot reach the expected learning goal, and the classroom teaching efficiency becomes low, which urgently needs a new learning method to deal with these problems. Focusing on the digital education background of the new curriculum reform, this paper investigates the teaching nature, teaching methods, teaching design and evaluation, classroom construction, and student ability development of music appreciation. In this paper, the Kalman filter algorithm is used, and the optimal transformation order determined in advance is used to suppress the noise in music and improve the sound quality of music appreciation. If the order of the full-band signal model is selected as 10, and the number of sub-bands is selected as 4, then the order of the sub-band signal model should be at least greater than or equal to 2. In the music appreciation teaching test based on the Kalman filter, it was found that 35.6% of the students believed that the music appreciation course based on the Kalman filter could completely improve the learning efficiency, and 49% of students believe that the teaching of music appreciation class based on the Kalman filter can improve a large part of the learning efficiency. Overall, 85.5% of the students believed that the music appreciation class based on the Kalman filter is of great help in improving the learning efficiency, and the Kalman filter denoising method proposed in this paper has an obvious effect, which is a new attempt to promote the digital development of music appreciation.
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Li, Yi. "Digital Development for Music Appreciation of Information Resources Using Big Data Environment." Mobile Information Systems 2022 (September 10, 2022): 1–12. http://dx.doi.org/10.1155/2022/7873636.
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With the continuous development of information technology and the arrival of the era of big data, music appreciation has also entered the digital development. Big data essence is highlighted by comparison with traditional data management and processing technologies. Under different requirements, the required time processing range is different. Music appreciation is an essential and important part of music lessons, which can enrich people’s emotional experience, improve aesthetic ability, and cultivate noble sentiments. Data processing of music information resources will greatly facilitate the management, dissemination, and big data analysis and processing of music resources and improve the ability of music lovers to appreciate music. This paper aims to study the digital development of music in the environment of big data, making music appreciation more convenient and intelligent. This paper proposes an intelligent music recognition and appreciation model based on deep neural network (DNN) model. The use of DNN allows this study to have significant improvement over the traditional algorithm. This paper proposes an intelligent music recognition and appreciation model based on the DNN model and improves the traditional algorithm. The improved method in this paper refers to the Dropout method on the traditional DNN model. The DNN is trained on the database and tested on the data. The results show that, in the same database, the traditional DNN model is 114 and the RNN model is 120. The PPL of the improved DNN model in this paper is 98, i.e., the lowest value. The convergence speed is faster, which indicates that the model has stronger music recognition ability and it is more conducive to the digital development of music appreciation.
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Huang, Yuxin. "On The Cultivation of Music Aesthetic Quality in Music Appreciation of Teenagers." Journal of Education, Humanities and Social Sciences 26 (March 2, 2024): 257–63. http://dx.doi.org/10.54097/w9k94j10.
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Music is not only about hearing, but more importantly, feeling. However, many young people still lack the ability to appreciate music, and the aesthetic appreciation of music needs to be improved. Scholars at home and abroad have been devoted to the cultivation of youth music aesthetics, and have provided many effective solutions to this problem. This paper mainly discusses the existing problems of teenagers' music aesthetic, and how to solve these problems and how to cultivate teenagers' music aesthetic quality correctly and effectively. Through a variety of music courses and providing a good free atmosphere, students can improve their aesthetic level, develop creativity and expression skills, explore their interests and talents, build self-confidence, and form a positive self-identity. This can open up a broader artistic horizon for young people, develop a respect and appreciation for cultural diversity, and thus become better lifelong music lovers. In general, the cultivation of teenagers' music aesthetics is a complicated and important process. By providing diverse music experiences, encouraging participation in music creation, guiding deep thinking about music works, establishing music appreciation communities, and supporting and participating in family and education, the development of young people's music aesthetics can be effectively promoted. Further research will help to understand the formation process of teenagers' music aesthetics and provide more scientific and effective guidance for teenagers' music education.
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IWAO, YOSHINO, KEN-ICHI YAMADA, and YU-SHI TAKIGAHIRA. "Effects of Viewing Music Videos of Musicians Playing on Music Appreciation :." Japanese Journal of Educational Psychology 62, no. 2 (2014): 143–55. http://dx.doi.org/10.5926/jjep.62.143.
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IWAO, YOSHINO, KEN-ICHI YAMADA, and YU-SHI TAKIGAHIRA. "Effects of Viewing Music Videos of Musicians Playing on Music Appreciation :." Japanese Journal of Educational Psychology 63, no. 1 (2015): 83. http://dx.doi.org/10.5926/jjep.63.83.
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Trimble, Michael, and Dale Hesdorffer. "Music and the brain: the neuroscience of music and musical appreciation." BJPsych. International 14, no. 2 (2017): 28–31. http://dx.doi.org/10.1192/s2056474000001720.
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Through music we can learn much about our human origins and the human brain. Music is a potential method of therapy and a means of accessing and stimulating specific cerebral circuits. There is also an association between musical creativity and psychopathology. This paper provides a brief review.
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Rinsema, Rebecca M. "De-sacralizing the European: music appreciation (then) and music listening (now)." Music Education Research 20, no. 4 (2018): 480–89. http://dx.doi.org/10.1080/14613808.2018.1433146.
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Callen, Donald M. "Moving to Music. For Better Appreciation." Journal of Aesthetic Education 19, no. 3 (1985): 37. http://dx.doi.org/10.2307/3332642.
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Taub, Robert. "An Appreciation of Milton's Piano Music." Perspectives of New Music 24, no. 2 (1986): 26. http://dx.doi.org/10.2307/833210.
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Taylor, Katharine Scott. "An Autochthonous Approach to Music Appreciation." Soundings (Reston, VA) 3, no. 3 (1990): 28–32. http://dx.doi.org/10.1177/104837139000300311.
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Kohlberg, Gavriel, Jaclyn B. Spitzer, Dean Mancuso, and Anil K. Lalwani. "Does cochlear implantation restore music appreciation?" Laryngoscope 124, no. 3 (2013): 587–88. http://dx.doi.org/10.1002/lary.24171.
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Steane, John, and Michael Scott. "A Better Appreciation." Musical Times 130, no. 1757 (1989): 415. http://dx.doi.org/10.2307/1193452.
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