Hasil untuk "Musical instruction and study"

Avosuahi Deborah Arasomwan, Glynnis Daries

In South Africa, psychosocial problems resulting from child-headed families, orphaned children, violent homes, neglected children, and single parents have considerably grown. These problems including absenteeism, depression, adolescent pregnancy, and suicide can be prevented by teaching children socio-emotional skills, which are the information, abilities, and attitudes needed to identify and control emotions, set and achieve constructive objectives, empathy for others, and maintaining wholesome social connections. Several studies have examined the impact of songs on young children in both European and African contexts. This study thus examined how Early Childhood Care and Education (ECCE) educators utilize musical pedagogies to enhance students’ socio-emotional skills. Through a qualitative case study involving interviews and observations of MKOs (More Knowledgeable Others), the research explored the educators’ engagement with learners and the use of music in supporting socio-emotional development. Six ECCE educators were selected through purposive sampling, conducting interviews, and analyzing data using thematic analysis techniques. The findings confirm that music and rhymes are effective implementation techniques to support young children’s socio-emotional development, particularly those from rural contexts. The findings have demonstrated that music-based instruction improves ECCE learners’ development of these abilities. Practical implications have been provided for ECCE educators and policymakers, highlighting the importance of incorporating music and rhymes into the ECCE curriculum to support socio-emotional development. Future research can explore the impact of music on children’s socio-emotional development in different contexts and investigate the effectiveness of music-based interventions in supporting children’s all-around development.

Strzelecki Marcin

This article explores the intersection of artificial intelligence and music, focusing on the conceptual foundations of AI in music generation. It underscores the technological advancements and limitations of AI in capturing the nu-anced elements of traditional music composition. The article addresses the broader implications of utilizing AI, in-cluding the significant energy consumption involved in training and operating these models. It critically examines the sustainability of AI-driven music production against the backdrop of cultural, ecological, and economic consid-erations. By providing insights into both the technical and aesthetical aspects of AI in music, the article offers an overview that aids in understanding the potential and challenges of integrating AI into the creative process, while al-so considering the evolving role of music in human societies.

Maglov Marija

This paper analyses the radiophonic work Lacrimosa (1993) by Serbian composer Ivana Stefanović (1948-). More specifically, the work is interpreted from several thematic cores, as it addresses antiwar protests, exile, and motherhood, while echoing the lament as practice of expressing grief and loss. These topics are shaped in the framework of radio art, using various sound sources as building materials, from archive and field recordings to quotations of well-known music pieces. The interpretation of these interpolated materials is framed by the accounts on the creation and reception of the piece.

Hongxi Pu, Futian Jiang, Zihao Chen et al.

Music composition has long been recognized as a significant art form. However, existing digital audio workstations and music production software often present high entry barriers for users lacking formal musical training. To address this, we introduce ComposeOn, a music theory-based tool designed for users with limited musical knowledge. ComposeOn enables users to easily extend their melodic ideas into complete compositions and offers simple editing features. By integrating music theory, it explains music creation at beginner, intermediate, and advanced levels. Our user study (N=10) compared ComposeOn with the baseline method, Suno AI, demonstrating that ComposeOn provides a more accessible and enjoyable composing and learning experience for individuals with limited musical skills. ComposeOn bridges the gap between theory and practice, offering an innovative solution as both a composition aid and music education platform. The study also explores the differences between theory-based music creation and generative music, highlighting the former's advantages in personal expression and learning.

W. M. Yomal De Mel, Nisansa de Silva

This research investigates the area of Music Information Retrieval (MIR) and Music Emotion Recognition (MER) in relation to Sinhala songs, an underexplored field in music studies. The purpose of this study is to analyze the behavior of Sinhala comments on YouTube Sinhala song videos using social media comments as primary data sources. These included comments from 27 YouTube videos containing 20 different Sinhala songs, which were carefully selected so that strict linguistic reliability would be maintained and relevancy ensured. This process led to a total of 93,116 comments being gathered upon which the dataset was refined further by advanced filtering methods and transliteration mechanisms resulting into 63,471 Sinhala comments. Additionally, 964 stop-words specific for the Sinhala language were algorithmically derived out of which 182 matched exactly with English stop-words from NLTK corpus once translated. Also, comparisons were made between general domain corpora in Sinhala against the YouTube Comment Corpus in Sinhala confirming latter as good representation of general domain. The meticulously curated data set as well as the derived stop-words form important resources for future research in the fields of MIR and MER, since they could be used and demonstrate that there are possibilities with computational techniques to solve complex musical experiences across varied cultural traditions

Megan Wei, Michael Freeman, Chris Donahue et al.

Music foundation models possess impressive music generation capabilities. When people compose music, they may infuse their understanding of music into their work, by using notes and intervals to craft melodies, chords to build progressions, and tempo to create a rhythmic feel. To what extent is this true of music generation models? More specifically, are fundamental Western music theory concepts observable within the "inner workings" of these models? Recent work proposed leveraging latent audio representations from music generation models towards music information retrieval tasks (e.g. genre classification, emotion recognition), which suggests that high-level musical characteristics are encoded within these models. However, probing individual music theory concepts (e.g. tempo, pitch class, chord quality) remains under-explored. Thus, we introduce SynTheory, a synthetic MIDI and audio music theory dataset, consisting of tempos, time signatures, notes, intervals, scales, chords, and chord progressions concepts. We then propose a framework to probe for these music theory concepts in music foundation models (Jukebox and MusicGen) and assess how strongly they encode these concepts within their internal representations. Our findings suggest that music theory concepts are discernible within foundation models and that the degree to which they are detectable varies by model size and layer.

Mathias Rose Bjare, Stefan Lattner, Gerhard Widmer

In recent years, the quality and public interest in music generation systems have grown, encouraging research into various ways to control these systems. We propose a novel method for controlling surprisal in music generation using sequence models. To achieve this goal, we define a metric called Instantaneous Information Content (IIC). The IIC serves as a proxy function for the perceived musical surprisal (as estimated from a probabilistic model) and can be calculated at any point within a music piece. This enables the comparison of surprisal across different musical content even if the musical events occur in irregular time intervals. We use beam search to generate musical material whose IIC curve closely approximates a given target IIC. We experimentally show that the IIC correlates with harmonic and rhythmic complexity and note density. The correlation decreases with the length of the musical context used for estimating the IIC. Finally, we conduct a qualitative user study to test if human listeners can identify the IIC curves that have been used as targets when generating the respective musical material. We provide code for creating IIC interpolations and IIC visualizations on https://github.com/muthissar/iic.

Bo-ram Lee, Jee-hea Baek

Objectives This study observed the musical expression and musical play of 5-year-old children in free play, and examined the genre of songs and the aspects of song-making in the process. Methods The researcher was participatory observation 16 5-year-old children from A daycare center located in D city for about 6 months from March to August 2021. Data were collected through video recording and recording of the process of making songs spontaneously appearing in children's free play, and data such as teacher's observation diary and researcher's diary were additionally collected and analyzed. Results First, song-making in the free play of 5-year-olds started with various genres of music, and appeared as trot singing, changing the words of a song while singing a cartoon theme, and making a new song with a nursery rhyme. Second, the aspects of children's voluntary song-making were expressed by expressing rhythm, playing scales with melodic instruments, and changing the words of the song, and they made Bora class battle cry, our class songs, and welcome songs. Conclusions This suggests that educational support for the provision and utilization of various music genres is necessary for young children's creative music-making experience, and music utilizing musical elements such as rhythm, melody, tone, and form to develop musical expression and cognitive ability. It suggests that there is a need to actively provide activities. In addition, it suggests that teachers should be sensitive to children's active musical expressions and reactions, focus on children's creativity in musical activities, and pay attention to new music created by children.

Jee-Ean Kim, Sung-su Kim

Objectives The purpose of this study was to verify the validity and reliability of the Korean version of the Musical Self-Perception Inventory(K-MUSPI-S) and to explore the possibility of domestic application of the scale. Methods Morin et al. (2015) modified and validated the Musical Self-Perception Inventory(MUSPI-S) and conducted a preliminary survey. In this survey, an exploratory factor analysis was conducted on 110 early childhood education teachers, and confirmatory factor analysis and validation analysis were conducted on 230 early childhood education teachers. Results As a result, K-MUSPI-S explored a total of 28 items and 7 factor structures of singing, instrumental playing, reading, composing, listening, dance movement according to music, and general music ability, and a confirmatory factor analysis was performed. The internal consistency of the sub-factors and the entire scale showed adequate reliability, and it was verified that the research model of the 7 factors was a good model based on the goodness-of-fit index. In addition, in the validation analysis, significant correlations were shown between the factors. Conclusions Based on these results, K-MUSPI-S was confirmed to be suitable for use as a tool to measure early childhood eucation teachers' musical self-perception.

Wei Ma

Students benefit from teacher’s action during education in a variety of subjects. Identifying the need for a better understanding of the influence of various presentation types at different levels of student proficiency is extremely important. Moreover, these skills are also important to any technique of learning piano in a school environment. The significance of music in the school’s curriculum, new concepts for teaching music in the school, and new ideas for teaching piano were among them. This study focuses on a teaching environment and piano learning in which beginning and advanced piano students study to produce a particular style of staccato in three types of group instruction scenarios. The musical difficulty is only demonstrated through audio and observation of the teacher’s action performance. The comprehensive ability evaluation system for piano teaching can, to a certain extent, evaluate and sort the ability of college piano teaching. Therefore, this paper utilizes the attribute method in combination with instant analysis which provides seven attribute indicators. The approach is reasonable, and evaluating characteristics such as the level of the school’s teaching plan set and related psychological weights may well be revised as necessary to address users’ requirements. After completely integrating the qualities of the school and comprehensively examining various contributing factors, the students’ learning quality in different grades or the same grade of colleges and universities may be determined. A comparison against the existing schemes can effectively represent the school’s overall teaching level.

N. McBride, G. Nicholson

This study sought to investigate how a cohort of American preservice graduate students in music education reconceptualize their pedagogical lens after participating in an immersive cultural music exchange program in China. By embracing a critical ontology framework, we interwove Western ways of knowing alongside local knowledge to examine the ways in which participants explored their cultural competence through self-reflection. Data indicated that participants in this study were receptive to non-Western social and musical experiences within learning environments that minimized power dynamics, such as peer-to-peer instruction and informal music making. This finding suggests that music teacher educators preparing a cultural immersion program could construct multiple types of learning opportunities in an effort to build preservice teachers’ cultural competence. In addition to careful research, design, and implementation of immersion programs, music teacher educators might also prepare students for the messiness of the cultural competence work, including cultural misunderstandings, issues of authenticity, and varying interpretations.

Shaohan Huang

Music education is among the most significant subjects covered in providing high-quality education in Chinese universities and colleges. Music education is critical to providing high-quality education to students. It contributes significantly to the development of students' creative motivation, inventive capacity, and personality development. Music education provides excellent outcomes in music instruction and fosters students' original thinking and comprehensive abilities, and therefore supports the overall development of high-quality education. With the development of the educational system, it is becoming more vital to teach students a high level of musical literacy. With the advent of 5G mobile communication, it will become one of the core technologies in Chinese music education, providing an innovative framework for music education. In this study, a novel music education model is proposed for the development of music education using the GTZAN dataset which is comprised of 100 distinct specimens for every genre and ten various kinds of music. The dataset is normalized to prepare it for further processing and the characteristics of the song are retrieved using a technique called spectrum-based feature extraction (SBF). Bi-recurrent neural networks (Bi-RNN). are used to classify objects in space. An improved TCP congestion control algorithm (ITCCA) is proposed for efficient data transmission between the 5G networks. To optimize the performance of the transmission protocol, the honey bee optimization algorithm is employed. The performance of the proposed model is examined and contrasted with that of the currently used approaches. The proposed model shows high performance in terms of throughput, average delay, and packet delivery ratio. The model has the potential to successfully integrate 5G technologies and music education and provide the students with rich and diversified teaching materials and flexible instructional formats.

Pool Kevin Valdez Luna

El Himno Nacional del Perú traducido al quechua del Collao es una obra que se ejecuta con regularidad en eventos protocolares del país; sobre todo, en la región sur-andina por cantantes profesionales, coros e instituciones públicas y privadas. Esta traducción, sin embargo, presenta dificultades para su pronunciación debido a los fonemas ajenos al español que regularmente son pronunciados con imprecisión, o presenta dificultad técnica, al momento de ejecutarse, entre los no quechuahablantes. La obra se convierte, entonces, en una falencia comunicativa en su interpretación e, incluso, cambia el significado del texto que se recita. El presente estudio aborda el análisis fonético del Himno Nacional del Perú traducido al quechua del Collao con énfasis en la ubicación de los fonemas extraños al idioma español, y con especial atención a los fonemas eyectivos o glotales eyectivos. Estos últimos son explicados en su forma de funcionamiento mecánico sonoro y se dan las pautas necesarias para poder ser ejecutadas a partir de las posibilidades técnicas de los intérpretes. Se han empleado herramientas informativas para contextualizar el trabajo, tales como los antecedentes musicales del Himno Nacional del Perú, los estudios fonéticos sobre el quechua del Collao y la influencia que tienen estos dentro de la ejecución vocal. A continuación, se ha procedido a analizar fonéticamente el Himno Nacional del Perú en el idioma quechua para poder ubicar las consonantes eyectivas. Estas se han contrastado entre tres ejecuciones diferentes y se ha hecho un consenso de los fonemas alófonos que pudieran existir dentro de estas tres ejecuciones para dar una transcripción más acertada de la ejecución sonora. Finalmente, con el análisis hecho, una entrevista realizada a una ejecutante y basándonos en los estudios previos de fonética y canto, se concluye que las consonantes eyectivas causan una fatiga a nivel glotal que podrían perjudicar al cantante a nivel fonético y físico fonatorio durante la realización de su ejecución. Sin embargo, estas consonantes deben ser ejecutadas con la claridad necesaria para ser entendibles por el público oyente, y es responsabilidad del cantante poder encontrar un equilibrio de acuerdo con sus capacidades físicas fonatorias.

Albi Eka Daud, Dahlan Dahlan, Lalu Sumardi

Penelitian ini bertujuan untuk mengetahui teknik permainan kesenian gendang beleq, makna alat dan pertunjukan, dan nilai-nilai yang terkandung dalam pertunjukan kesenian gendang beleq. Pendekatan yang digunakan yaitu pendekatan kualitatif dengan jenis penelitian phenomeolog. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, dokumentasi. Teknik penentuan sampel penelitan menggunakan teknik purposive sampling. Teknik analisis data penelitian ini yaitu reduksi data, penyajian data, menarik kesimpulan. Berdasarkan hasil temuan penelitian teknik  permainan alat musik gendang beleq yaitu : a) gendang; ditabuh & dikeplak. b) kenceng/cemprang; ditepuk. c) oncer/petuk; ditabuh.   d) rincik; ditabuh. e) trompong; ditabuh.  f) gong; ditabuh. g) suling; ditiup.  Makna alat yaitu : a) gendang,  berbahan kayu yang membran sebelah kiri dan kanan dilapisi kulit hewan sapi dan kambing. b) kenceng/cemprang. berbentuk piringan terbuat dari logam yang berbahan kuningan. c) oncer/petuk, berbentuk bulat terbuat dari logam berbahan kuningan. d) rincik, berbentuk piringan terbuat dari logam berbahan kuningan. e) trompong, berbentuk bulat terbuat dari logam berbaan kuningan.. f) gong, berbentuk bulat terbuat dari logam berbahan kuningan. g) suling,  terbuat dari bambu. Makan pertunjukan yaitu : a) bentuk pelestarian. b) pembentuk sikap gotong royong. Nilai-nilai dalam gendang beleq yaitu : a) nilai estetika. b) nilai tanggung jawab. c) nilai kerja keras. d) nilai ekonomis.

Nadine Rizkita, Yudi Sukmayadi

Artikel ini didasari pada isu perubahan kurikulum yang akan terjadi di tahun 2022. Kemdikbudristek mengeluarkan kurikulum baru mulai tahun 2022 yang dinamakan dengan Kurikulum Prototype 2022. Kurikulum Prototype adalah nama kurikulum baru 2022 yang akan diterapkan untuk semua jenjang.  Dalam hal ini, timbul berbagai cerminan dari berbagai guru di sekolah tentang kurikulum yang digunakan saat ini dengan kurikulum yang akan berganti di tahun ajaran berikutnya. Dalam pespektif ini, Indonesia barangkali dipandang sudah harus dan cukup mampu melakukan gebrakan itu melalui perubahan kurikulum. Tahun 2016, secara resmi keluar peraturan pemerintah baru guna menyelesaikan persoalan yang timbul. Dengan datangnya regulasi baru ini, dilakukan  penelitian  kuantitatif kepada  guru  tentang  persepsi  guru  mata  pelajaran  Seni  Budaya terhadap Kurikulum 2013 Revisi 2016 di SMAN 1 Garut. Dalam penelitian ini melibatkan guru Seni Budaya sebagai sumber untuk mendapatkan informasi berbagai hal mengenai penerapan kurikulum tersebut. Dimana dalam persepsinya kurikulum yang saat ini digunakan dianggap kurang matang persiapannya dan kurang sesuai dengan prinsip kurikulum seperti kurangnya relevansi sumber bahan ajar dan prinsip kontinuitas atau kesinambungan saat proses mengajar. Oleh karena itu, diharapkan untuk kurikulum baru yang akan datang khususnya untuk mata pelajaran Seni Budaya konsentrasi materi seni musik dan seni lainnya dapat memenuhi prinsip relevansi, fleksibilitas, kesinambungan, kepraktisan dan efektivitas. Sehingga terhindar dari keraguan pemahaman saat memberikan ilmu.

Ahmed Heakl, Abdelrahman Abdelgawad, Victor Parque

Due to the increased demand for music streaming/recommender services and the recent developments of music information retrieval frameworks, Music Genre Classification (MGC) has attracted the community's attention. However, convolutional-based approaches are known to lack the ability to efficiently encode and localize temporal features. In this paper, we study the broadcast-based neural networks aiming to improve the localization and generalizability under a small set of parameters (about 180k) and investigate twelve variants of broadcast networks discussing the effect of block configuration, pooling method, activation function, normalization mechanism, label smoothing, channel interdependency, LSTM block inclusion, and variants of inception schemes. Our computational experiments using relevant datasets such as GTZAN, Extended Ballroom, HOMBURG, and Free Music Archive (FMA) show state-of-the-art classification accuracies in Music Genre Classification. Our approach offers insights and the potential to enable compact and generalizable broadcast networks for music and audio classification.

Z. Guo, J. Kang, D. Herremans

Following the success of the transformer architecture in the natural language domain, transformer-like architectures have been widely applied to the domain of symbolic music recently. Symbolic music and text, however, are two different modalities. Symbolic music contains multiple attributes, both absolute attributes (e.g., pitch) and relative attributes (e.g., pitch interval). These relative attributes shape human perception of musical motifs. These important relative attributes, however, are mostly ignored in existing symbolic music modeling methods with the main reason being the lack of a musically-meaningful embedding space where both the absolute and relative embeddings of the symbolic music tokens can be efficiently represented. In this paper, we propose the Fundamental Music Embedding (FME) for symbolic music based on a bias-adjusted sinusoidal encoding within which both the absolute and the relative attributes can be embedded and the fundamental musical properties (e.g., translational invariance) are explicitly preserved. Taking advantage of the proposed FME, we further propose a novel attention mechanism based on the relative index, pitch and onset embeddings (RIPO attention) such that the musical domain knowledge can be fully utilized for symbolic music modeling. Experiment results show that our proposed model: RIPO transformer which utilizes FME and RIPO attention outperforms the state-of-the-art transformers (i.e., music transformer, linear transformer) in a melody completion task. Moreover, using the RIPO transformer in a downstream music generation task, we notice that the notorious degeneration phenomenon no longer exists and the music generated by the RIPO transformer outperforms the music generated by state-of-the-art transformer models in both subjective and objective evaluations.

Yusuke Yamazaki, Shoichi Hasegawa

We propose a method that stimulates musical vibration (generated from and synchronized with musical signals), modulated by the direction and distance to the target, on both sides of a user's neck with Hapbeat, a necklace-type haptic device.We conducted three experiments to confirm that the proposed method can achieve both haptic navigation and enhance the music-listening experience.Experiment 1 consisted of conducting a questionnaire survey to examine the effect of stimulating musical vibrations.Experiment 2 evaluated the accuracy (deg) of users' ability to adjust their direction toward a target using the proposed method.Experiment 3 examined the ability of four different navigation methods by performing navigation tasks in a virtual environment.The results of the experiments showed that stimulating musical vibration enhanced the music-listening experience, and that the proposed method is able to provide sufficient information to guide the users: accuracy in identifying directions was about 20 deg, participants reached the target in all navigation tasks, and in about 80% of all trials participants reached the target using the shortest route.Furthermore, the proposed method succeeded in conveying distance information, and Hapbeat can be combined with conventional navigation methods without interfering with music listening.

A. Goodrich

The purpose of this study was to explore how high school students mentored beginning fifth-grade students in an extracurricular music class for double-reed instruments. In this study, I investigated the role of peer mentoring with how high school mentors shared their knowledge and experiences, and the role of the teacher in this process. The following questions guided this study: How did the participants share their knowledge and experiences during peer mentoring? How did the teacher serve as a guide for the student participants during peer mentoring? Data collection included observations and interviews during one semester of instruction, and analysis of the data collected involved a system of coding from which two themes developed: mentoring concurrent with director teaching and learning while mentoring. In addition, findings indicated that the participants used knowledge learned from outside sources, they reinforced content presented by the teacher, and they drew on their own musical knowledge during the process. Under the guidance of the teacher, the participants also learned how to share their knowledge that in turn helped elevate their individual levels of musicianship. Implications for music teachers suggest the use of peer mentoring to help create meaningful learning experiences in their classrooms and increase interaction among students.

Clara Petrozzi

Este número de la revista Antec presenta al público los artículos que han sido merecedores de distinciones en el Premio Nacional a la Investigación Musical, convocado por el Instituto de Investigación de la Universidad Nacional de Música del Perú. Esta iniciativa es encomiable y demuestra que la existencia de una revista como Antec es un impulso para la investigación y la publicación de artículos científicos de la materia. Es estimulante la variedad de temas, enfoques y metodologías que se presentan en estos artículos, en los que desfilan ante nosotros la música patriótica, el reguetón y el minueto.