Hasil untuk "Music and books on Music"

Olufemi Akanji Olaleye, Olusegun Stephen Titus

The agonizing afterlives of the traditional religion conquest and the cultural oath system alterations by the adherents of imported foreign religions to Nigeria brought spiritual favoritism to the Bible and the Quran as an object of oath. Consequently, the traditional religion suppressions emboldened Nigerian leaders and politicians to do away with the fears of the traditional gods, which they had earlier feared and venerated. Therefore, this study explores the afterlives of traditional religious slavery and the foreign politics of modern oath systems and their consequences on the socio-political lives of Nigerians. The study adopted an ethnographic method that included participant observation, interviews, and textual analysis. Secondary data were sourced from books and the internet. More so, the song of Fela Anikulapo was analysed, which exposes and itemizes the negative effects of traditional religious slavery in Nigeria. Based on the religious diversity theory, the study argues that Nigerian religious tradition differs from the foreign religious philosophies and doctrines; however, the skewedness of the two unequal religions has negative consequences on the socio-political lives of the people. Finding reveals that the exterminations of the cultural oath systems contributed to Nigeria's downfall with in-depth corruption, abject poverty, suffering, lack of social amenities, hopelessness, and sickness, ‘JAPA’, and early deaths in Nigeria. Findings also reveal that music is a useful weapon of historicity and excellent cultural ideological reawakening, and that music is significantly valuable to sustainable development. The study concludes that the antidote to cure Nigeria of endemic political imbroglio and economic challenges permanently is the resuscitation of the fearful cultural oath systems.

Ojas Chaturvedi, Kayshav Bhardwaj, Tanay Gondil et al.

This paper presents the results of the 2025 Automatic Music Transcription (AMT) Challenge, an online competition to benchmark progress in multi-instrument transcription. Eight teams submitted valid solutions; two outperformed the baseline MT3 model. The results highlight both advances in transcription accuracy and the remaining difficulties in handling polyphony and timbre variation. We conclude with directions for future challenges: broader genre coverage and stronger emphasis on instrument detection.

Ping-Yi Chen, Chih-Pin Tan, Yi-Hsuan Yang

We propose the Segmented Full-Song Model (SFS) for symbolic full-song generation. The model accepts a user-provided song structure and an optional short seed segment that anchors the main idea around which the song is developed. By factorizing a song into segments and generating each one through selective attention to related segments, the model achieves higher quality and efficiency compared to prior work. To demonstrate its suitability for human-AI interaction, we further wrap SFS into a web application that enables users to iteratively co-create music on a piano roll with customizable structures and flexible ordering.

Zeynep Polat , Mahmut Selman Ildır, Beyza Yıldırım et al.

The definition of attachment is characterized as the emotional bond established between the baby and the caregiver. It is known that this bond, which can be described as emotional, is associated with consistency and continuity. Attachment styles help understand the ways individuals establish, maintain, and connect with other people during adolescence, adulthood, and old age. The attachment styles that the baby establishes with the caregiver in the early period of life affect adulthood and adolescence, the schema formation of interpersonal relationships in these periods, and the qualities of the relationships to be established. On the other hand, the influence of Turkish makams on people's emotions has a place in many different areas (confidence, strength, courage, and sadness). At this point, it is thought that individuals' attachment styles may have a match with their music preferences. With this connection, the study aimed to investigate the relationship between university students' attachment styles and Turkish makam preferences. Preferences for three of the Turkish makams (Isfahân, Kûçek, and Sabâ) are the subject of the research. For this purpose, the "Three-Dimensional Attachment Styles Scale" was applied to 384 university students after the makam recitals. The results of the analysis revealed that there was no significant relationship between attachment styles and Turkish makams (Isfahân, Kûçek, and Sabâ) preferences. In addition, Turkish makam preferences do not show any significant differences according to sex, age group, and attachment style. This research is a pioneering study investigating the relationship between Turkish makams and attachment styles. It is intended to serve as a resource for future studies.

Ildikó Ferencziné ÁCS

Several books, studies and videos are available on the Internet on the importance and role of singing in schools and choral singing, and on effective ways of learning songs and choral works. As a result of technological progress, MIDI recordings and digital choral parts are available to choirs and choir leaders to facilitate the rehearsal and learning process. However, what on the one hand seems modern and innovative (digital pianos, audio and video recordings, easy and fast communication, streaming, virtual choirs) can have a negative impact on the other. At international conferences and symposiums, it is common to see choirmasters making hand gestures to sound one or more parts, as a kind of attraction to show off solfa singing. It is not always clear, however, what the intelligent use of solmization can do beyond the two-(three-)part singing or vocal warm-up. The following chapters will point out why reading music with a relative system of solfa is beneficial, and why learning to sing a part or a choral work with the help of piano is less supported.

Wenqian Cui, Pedro Sarmento, Mathieu Barthet

Loopable music generation systems enable diverse applications, but they often lack controllability and customization capabilities. We argue that enhancing controllability can enrich these models, with emotional expression being a crucial aspect for both creators and listeners. Hence, building upon LooperGP, a loopable tablature generation model, this paper explores endowing systems with control over conveyed emotions. To enable such conditional generation, we propose integrating musical knowledge by utilizing multi-granular semantic and musical features during model training and inference. Specifically, we incorporate song-level features (Emotion Labels, Tempo, and Mode) and bar-level features (Tonal Tension) together to guide emotional expression. Through algorithmic and human evaluations, we demonstrate the approach's effectiveness in producing music conveying two contrasting target emotions, happiness and sadness. An ablation study is also conducted to clarify the contributing factors behind our approach's results.

Nadine Kroher, Steven Manangu, Aggelos Pikrakis

Most contemporary music tagging systems rely on large volumes of annotated data. As an alternative, we investigate the extent to which synthetically generated music excerpts can improve tagging systems when only small annotated collections are available. To this end, we release GTZAN-synth, a synthetic dataset that follows the taxonomy of the well-known GTZAN dataset while being ten times larger in data volume. We first observe that simply adding this synthetic dataset to the training split of GTZAN does not result into performance improvements. We then proceed to investigating domain adaptation, transfer learning and fine-tuning strategies for the task at hand and draw the conclusion that the last two options yield an increase in accuracy. Overall, the proposed approach can be considered as a first guide in a promising field for future research.

Javier Nistal, Marco Pasini, Cyran Aouameur et al.

Recent advancements in deep generative models present new opportunities for music production but also pose challenges, such as high computational demands and limited audio quality. Moreover, current systems frequently rely solely on text input and typically focus on producing complete musical pieces, which is incompatible with existing workflows in music production. To address these issues, we introduce "Diff-A-Riff," a Latent Diffusion Model designed to generate high-quality instrumental accompaniments adaptable to any musical context. This model offers control through either audio references, text prompts, or both, and produces 48kHz pseudo-stereo audio while significantly reducing inference time and memory usage. We demonstrate the model's capabilities through objective metrics and subjective listening tests, with extensive examples available on the accompanying website: sonycslparis.github.io/diffariff-companion/

Iulia URSA

The contemporary performative scene is defined by the interaction of the means of artistic expression, which determines a permanent renewal of the scenic language. This article discusses the multiple stage practices that animate in the play the theater and music, in their complementarity or dynamic confrontation. These interactions are presented here from the perspective of the specific musical work of the artist Jean-Jacques Lemêtre, who facilitated a voice and movement rhythm workshop at the Faculty of Theater and Film of the Babeș-Bolyai University, March 2023. Unique figure in the theatrical musical landscape, he has been the musician, composer, luthier, and interpreter of the sound universe of the Théâtre du Soleil company's performances for more than forty years. This work aims to demonstrate that music for theater is a special genre born through the process of organic integration of the theatricality of the stage, by assuming the risk of being contaminated by the impurity generated by the actors' bodies that emit their own sound universe. The music for theater is enriched and energized by these experiences born from the osmosis of sound-enhanced image into organic and fruitful connections.

Christof Weiß, Vlora Arifi-Müller, Michael Krause et al.

This paper introduces the Wagner Ring Dataset (WRD), a multi-modal and multi-version resource on the large-scale opera cycle Der Ring des Nibelungen by Richard Wagner. The Ring comprises four music dramas organized into eleven acts and 21 939 measures in total. Concerning sheet music, we processed a publicly available piano reduction (822 pages) of the full score with optical music recognition followed by extensive manual corrections to create a high-quality, machine-readable symbolic score. Concerning audio data, our corpus covers 16 recorded performances of the full Ring (three of which are publicly available thanks to copyright expiry), each lasting about 14–15 hours. To musically synchronize these versions among each other, we manually annotated all measure positions for three performances, which we transferred to the remaining performances via automated synchronization techniques. The dataset further comprises annotations of key and time signatures, scenes, and singing voice regions (libretto). Moreover, we provide note event annotations for all performances derived from the piano score. The WRD thus constitutes a comprehensive resource for developing algorithms for various music information retrieval tasks, complementing existing datasets with a complex opera scenario. For computational musicology, the WRD serves as a structured dataset that allows for studying the composition and performances of the Ring.

Lasse Rempe

"Phase-locking" is a fundamental phenomenon in which coupled or periodically forced oscillators synchronise. The Arnold family of circle maps, which describes a forced oscillator, is the simplest mathematical model of phase-locking and has been studied intensively since its introduction in the 1960s. The family exhibits regions of parameter space where phase-locking phenomena can be observed. A long-standing question asked whether "hyperbolic" parameters~-- those whose behaviour is dominated by periodic attractors, and which are therefore stable under perturbation~-- are dense within the family. A positive answer was given in 2015 by van Strien and the author, which implies that, no matter how chaotic a map within the family may behave, there are always systems with stable behaviour nearby. This research was a focal point of a pioneering collaboration with composer Emily Howard, commencing with Howard's residency in Liverpool's mathematics department in 2015. The collaboration generated impacts on creativity, culture and society, including several musical works by Howard, and lasting influence on artistic practice through a first-of-its-kind centre for science and music. We describe the research and the collaboration, and reflect on the factors that contributed to the latter's success.

Johanna Devaney, Cecilia Beauchamp

This paper presents a new method of encoding performance data in MEI using the recently added \texttt{<extData>} element. Performance data was extracted using the Automatic Music Performance Analysis and Comparison Toolkit (AMPACT) and encoded as a JSON object within an \texttt{<extData>} element linked to a specific musical note. A set of pop music vocals has was encoded to demonstrate both the range of descriptors that can be encoded in <extData> and how AMPACT can be used for extracting performance data in the absence of a fully specified musical score.

Lydia C. Kee

Music education has been influenced by many people throughout history, but arguably none of them have done so as much as the monk, Guido D’Arezzo. His teaching methods have been embraced and developed by music educators throughout the centuries. For example, it is recorded that Guido was the first to use the five-line staff as we use it today. This was especially groundbreaking in a world of rote memorization. Today it is used globally in music education. The roots of solfege are also found in Guido’s writings; his syllables have been adapted by Zoltan Kodály. Not only that, but John Curwen’s hand signs are derivative of the so-called Guidonian Hand. Guido’s writings also provide ideas on including composition in teaching music. These ideas have been adapted by John Feierabend, a proponent of improvisation in the music classroom. Therefore, many of our modern practices can be traced back to the roots of Guido’s ingenuity.

В. М. Шейко, Є. Трубаєва

Розглядається медіаційна роль психоаналізу в процесах еволюції культури та становлення культурології як молодої наукової дисципліни. Висвітлюються різноманітні аспекти психоаналізу як дієвого посередника розвитку культури та мистецтва загалом і культурології зокрема. При цьому основна увага приділяється медіаційній складовій психоаналізу як одній із головних засад формування культурології як науки в цілому.

Atsuya Kobayashi, Ryogo Ishino, Ryuku Nobusue et al.

There is a long history of an effort made to explore musical elements with the entities and spaces around us, such as musique concrète and ambient music. In the context of computer music and digital art, interactive experiences that concentrate on the surrounding objects and physical spaces have also been designed. In recent years, with the development and popularization of devices, an increasing number of works have been designed in Extended Reality to create such musical experiences. In this paper, we describe MR4MR, a sound installation work that allows users to experience melodies produced from interactions with their surrounding space in the context of Mixed Reality (MR). Using HoloLens, an MR head-mounted display, users can bump virtual objects that emit sound against real objects in their surroundings. Then, by continuously creating a melody following the sound made by the object and re-generating randomly and gradually changing melody using music generation machine learning models, users can feel their ambient melody "reincarnating".

Mathias Rose Bjare, Stefan Lattner

It has been shown in a recent publication that words in human-produced English language tend to have an information content close to the conditional entropy. In this paper, we show that the same is true for events in human-produced monophonic musical sequences. We also show how "typical sampling" influences the distribution of information around the entropy for single events and sequences.

Bettina Eska, Jasmin Niess, Florian Müller

There is a recommended body posture and hand position for playing every musical instrument, allowing efficient and quick movements without blockage. Due to humans' limited cognitive capabilities, they struggle to concentrate on several things simultaneously and thus sometimes lose the correct position while playing their instrument. Incorrect positions when playing an instrument can lead to injuries and movement disorders in the long run. Previous work in HCI mainly focused on developing systems to assist in learning an instrument. However, the design space for posture correction when playing a musical instrument has not yet been explored. In this position paper, we present our vision of providing subtle vibrotactile or thermal feedback to guide the focus of attention back to the correct posture when playing a musical instrument. We discuss our concept with a focus on motion recognition and feedback modalities. Finally, we outline the next steps for future research.

André Luiz Rocha Mattos Caviola

Resumo: O presente artigo consiste no estudo das correspondências de Jorge Mori e Flávio Shiró Tanaka recebidas pelo artista Inimá de Paula (1918 - 1999) entre os anos de 1952 e 1957. Tais documentos foram doados pelo próprio artista em 1998, no ato da criação da Fundação Inimá de Paula, instituição destinada à preservação e divulgação de sua memoria A partir do estudo do escopo documental acima descrito, objetiva-se identificar uma fração da construção subjetiva entre artista e obra enquanto projeto poético. Palavras-Chave: Inimá de Paula; Projeto Poético; Modernismo; Correspondence to Inimá: 1952 - 1957 Impressions and Experiences in the Construction of Inimá Artistic Sensibility Abstract: This article consists of studying the correspondence of Jorge Mori and Flávio Shiró Tanaka received by the artist Inimá de Paula (1918 - 1999) between the years 1952 and 1957. These documents were donated by the artist himself in 1998, at the time of creation Fundação Inimá de Paula, an institution dedicated to the preservation and dissemination of his artistic work. From the study of the documentary scope described above, the objective is to identify a fraction of the subjective construction between artist and work as a poetic project. Keywords: Inimá de Paula; Poetic Project; Modernism Recebido em: 20/12/2020 – Aceito em 02/02/2021

Cristina RADU-GIURGIU

In a postmodern world where creative, aesthetic and social patterns are constantly reshaped or radically changed – a conservative, traditionalist view of lyrical performance can easily be categorized by some contemporary audiences as outdated and irrelevant. It is still possible that the opera, in its old costumes, to communicate any more interesting content – to modern man? This has been the dilemma of many opera directors who in the twentieth century changed their approach and often produced shocking performances for the public. The question remains open to the creators of the 21st century, the world of opera receiving more and more versions of shows that challenges the public with provocative solutions. Rezumat. REGIETHEATER - MAREA PROVOCARE PENTRU OPERA TIMPURILOR NOASTRE. Într-o lume postmodernă, în care modelele creative, estetice și sociale sunt în mod constant remodelate sau radical schimbate - o viziune conservatoare, tradiționalistă asupra spectacolului liric poate fi ușor catalogată de unele audiențe contemporane ca fiind depășită și irelevantă. Este încă posibil ca opera, în costumele sale vechi, să mai comunice vreun conținut interesant - pentru omul modern? Aceasta a fost dilema multor regizori de operă care, în secolul XX, și-au schimbat abordarea și au produs adesea spectacole șocante pentru public. Întrebarea rămâne deschisă pentru creatorii secolului XXI, lumea operei primind tot mai multe versiuni de spectacole care provoacă publicul cu soluții provocatoare. Cuvinte-cheie: Regietheater, operă, scene moderne, secolul XX

Wei-Tsung Lu, Ju-Chiang Wang, Minz Won et al.

Transformers have drawn attention in the MIR field for their remarkable performance shown in natural language processing and computer vision. However, prior works in the audio processing domain mostly use Transformer as a temporal feature aggregator that acts similar to RNNs. In this paper, we propose SpecTNT, a Transformer-based architecture to model both spectral and temporal sequences of an input time-frequency representation. Specifically, we introduce a novel variant of the Transformer-in-Transformer (TNT) architecture. In each SpecTNT block, a spectral Transformer extracts frequency-related features into the frequency class token (FCT) for each frame. Later, the FCTs are linearly projected and added to the temporal embeddings (TEs), which aggregate useful information from the FCTs. Then, a temporal Transformer processes the TEs to exchange information across the time axis. By stacking the SpecTNT blocks, we build the SpecTNT model to learn the representation for music signals. In experiments, SpecTNT demonstrates state-of-the-art performance in music tagging and vocal melody extraction, and shows competitive performance for chord recognition. The effectiveness of SpecTNT and other design choices are further examined through ablation studies.