Hasil untuk "Music"

Nataliia POSIKIRA-OMELCHUK, Tymur IVANNIKOV, Ulyana MOLCHKO et al.

The subject of this research is the essence of performing interpretation, which is considered an integral part of the functioning of a musical work from its creation to its presentation to the audience. The research methodology is based on a comparative analysis of historical and music-theoretical sources, an analysis of approaches to the definition and classification of different types of interpretation. The research compares the performing interpretation with other types of interpretation of contemporary music – composer’s and sound director’s interpretation. Interpretation is considered in relation to the concept of performance – if performance implies the physical act of playing a musical instrument or singing, the concept of interpretation is the ideal image of a musical work formed by the performer in the process of studying it. A comparative analysis of various definitions of the concept of interpretation allows us to conclude that the basis of interpretation is a thought process, understanding of its intonational features, including the analysis of the musical text, studying the circumstances of the composition of the work, stylistic and genre features. The issue of the correlation between the individual and the traditional in the course of forming an interpretation is important: the performer must take into account all the features of the musical text, the traditions of performing music of the relevant era and the relevant genres, while within the framework of traditions, the performer always has the space to bring his or her own individual understanding and performance characteristics. The issue of objective analysis of interpretations based on sound recordings is raised. Given the complexity of objective auditory analysis, we believe that the development of software that will allow us to identify agogic and dynamic features of performance at the level of individual sounds in musical phrases is a promising direction.

J.-E. Heitz, M. Koehl

As part of the Interreg VI Ch&acirc;teaux rh&eacute;nans &ndash; Burgen Am Oberrhein project, INSA Strasbourg is carrying out heritage conservation work on several castles on the Rhine plain. This work consists of 3D topographic surveys of the sites to crystallize them at a given time. Then, in a second phase, this work focuses on the modelling of 3D historical reconstructions of the sites. This challenge is carried out in collaboration with specialised archaeologists, to bring these castles back to life. The objective of this work is to promote the Rhineland castle heritage through digital technology. To increase the influence of these 4D models integrating different temporalities, a Unity game that can be used in a virtual reality cave has been created. Indeed, this method of valuation increases the public's immersion in the model and allows them to project themselves into the reality of the field. The methodology involves converting the models made with <em>Blender</em> to <em>Unity</em>, then creating a game with <em>Unity</em>. Finally, a self-guided game of a set of castles modelled at different historical periods is proposed. This game, focused on the player's immersion, gives access to menus allowing to choose the castle or the desired historical era. It also provides a range of fun tools allowing the player to move objects and take photos. It is also intended to be educational, by offering informative bubbles or interactions with NPCs, while roaming the castles to the rhythm of medieval music. VR is used here as a fun way to enhance the project's digital content in a more immersive form to the public.

Neta Spiro, Katie Rose M. Sanfilippo, Caitlin Shaughnessy et al.

Abstract Background The first 1001 days of life are a critical time in children’s development and can be challenging for parents and caregivers. Some families in the United Kingdom (UK) are not getting the support they need. Research indicates that musical care – the role of music in supporting any aspect of people’s developmental or health needs – can support families during, what we term, the beginning of life: pregnancy to two years of age. Musical care activities can take place in health and community settings and include music making, music listening, and music therapy. We must describe and understand the patterns of use of musical care activities during the beginning of life in the UK to capitalise on the potential of musical care to support families. Methods This article explores, from parents’ and musical care providers’ perspectives, (1) participation and provision of musical care activities, (2) descriptions and experiences of musical care activities, and (3) motivations for, deterrents from, and perceived outcomes of participation in musical care activities. Data from two co-developed cross-sectional surveys for parents/caregivers (N = 578) and providers (N = 50) was analysed using descriptive statistics and thematic analysis. Results Most parent/caregivers had participated in at least one musical care activity (83%). The most attended activity was play and development groups for babies that involve some music. Following our thematic analysis, personal preference, experiential and practical factors, recommendation by healthcare providers, and expectation of benefit were identified as motivators while deterrents included challenges in resources and logistics, and lack of inclusivity and diversity. Parents/caregivers perceived both positive and negative outcomes of attending musical care activities. Most providers had not had specific training and for many this work was not their primary income source. Conclusions There is a wide range of musical care activities during the beginning of life in the UK. Reasons for attending them range from those specific to music and its care potential to seeing them as leisure activities. The findings have implications for the flexibility and role that musical care activities can play during the beginning of life and call for investigation into how musical care activities may be integrated into care.

Alexandre Czerwiec, Margot Vannier, Olivier Courage

Background: Noise is omnipresent in the operating room. The average noise in the operating room generally ranges between 60 and 65 dB and can sometimes exceed 100 dB, despite the ARS (Agence Régionale de Santé) and WHO (World Health Organization) recommending levels of 35 dB(A). This study aimed to evaluate the effect of different kinds of background auditory stimuli on the performance of surgeons during an arthroscopic simulation task. Methods: Forty-seven surgeons with varying experience in arthroscopic surgery undertook different exercises under four different conditions: quiet, classical music, hard rock, and sustained chatter. All background auditory stimuli were set at 65 dB(A). Each participant underwent double randomization for the four sound stimuli and the four exercises to be performed. A musical questionnaire was also completed by each participant. Data related to each exercise included operating time in seconds, distance from the camera or instruments in centimeters, and an overall score automatically calculated by the simulator based on safety, economy of movement, and speed (scale: 0–20 points). Results: Operative time in an environment with classical music was significantly lower than in an environment with hard rock (95.9 s vs. 128.7 s, p = 0.0003). The overall rating in an environment with chatter was significantly lower than in a silent environment (11.7 vs. 15.7, p < 0.0001). The overall rating in an environment with hard rock was significantly lower than in an environment with classical music (14.3 vs. 17.5, p = 0.0008).Surgeons who preferred listening to music in the operating room performed differently than those who did not. The mean operative time for surgeons who preferred music was 99.52 s (SD = 47.20), compared to 117.16 s (SD = 61.06) for those who did not prefer music, though this difference was not statistically significant (p = 0.082). The mean overall score for surgeons who preferred music was significantly higher at 17.46 (SD = 2.29) compared to 15.57 (SD = 3.49) for those who did not prefer music (p = 0.001). Conclusions: Our study suggests that exposure to classical music and silence may confer greater benefits to the surgeon compared to the impact of hard rock and chatter. These conclusions are grounded in significant differences observed in operative time and overall evaluations, highlighting the potential advantages of an environment characterized by acoustic tranquility for surgical professionals. Preferences for music in the operating room also play a role, with those who prefer music demonstrating better performance scores.

Shuang Han, Zenghua Cai, Longlu Cao et al.

Abstract Background Postoperative delirium (POD) is a common neurologic disorder among elderly patients after non-cardiac surgery, which leads to various negative outcomes. Sleep disorder is considered an important cause of POD. The objective of this study was to investigate whether the Chinese traditional five-element music intervention could reduce POD by improving sleep quality in elderly patients undergoing non-cardiac surgery. Methods A total of 132 patients aged 65 to 90 years who underwent non-cardiac surgery were randomized to two groups: the intervention (n = 60) and the control group (n = 63). Patients in the intervention group were subjected to the Chinese traditional five-element music intervention during the perioperative, while patients in the control group had no music intervention. POD was evaluated using the Confusion Assessment Method (CAM) in the first 5 days after surgery. The Richards‒Campbell Sleep Questionnaire (RCSQ) was used to assess subjective sleep quality. The levels of nocturnal melatonin and cortisol in saliva were measured on the preoperative and the first 2 postoperative days. Results The incidence of POD within 5 days was 27.0% in the control group and 11.7% in the intervention group. Preoperative PSQI and MMSE scores were associated with POD. The RCSQ scores on the first postoperative day were significantly decreased in the two groups compared to the preoperative day. Compared to the control group, the RCSQ scores showed a significant improvement in the intervention group on the first postoperative day. Compared to the control group, the level of saliva melatonin in the intervention group showed a significant increase on the first postoperative day. However, there was no statistical difference in cortisol levels between the two groups. Conclusions Chinese traditional five-element music intervention decreased the incidence of POD in elderly patients who underwent noncardiac surgery via improving sleep quality, which may be associated with increased levels of melatonin.

Seyed Mohammadreza Beladi

This article examines parts of the oral literature and music of Bushehr, a port city in southern Iran. There is a song in Bushehr's music that uses words like helleh (heːlle̞) and heliosa (heːlijosa), that have no meaning for the people of Bushehr. This paper suggests that the origin of these words goes back to Greek mythology and that they are the remains of hymns or spells recited in praise of Helios and other ancient gods. To this end, in addition to qualitative and field research, extensive historical studies were carried out, focusing on the Hellenistic period after the conquest of Iran by Alexander the Great. I suggest that although the evolution of music in Bushehr was influenced by the military domination of Greece through acculturation, the cultural background of Bushehr was not ineffective in accepting this. As a result, assimilation occurred, and some mythical elements of Greece were localised in Bushehr.

Yubiry Gonzalez, Ronaldo C. Prati

A quantitative evaluation of the musical timbre and its variations is important for the analysis of audio recordings and computer-aided music composition. Using the FFT acoustic descriptors and their representation in an abstract timbral space, variations in a sample of monophonic sounds of chordophones (violin, cello) and aerophones (trumpet, transverse flute, and clarinet) sounds are analyzed. It is concluded that the FFT acoustic descriptors allow us to distinguish the timbral variations in the musical dynamics, including crescendo and vibrato. Furthermore, using the Random Forest algorithm, it is shown that the FFT-Acoustic provides a statistically significant classification to distinguish musical instruments, families of instruments, and dynamics. We observed an improvement in the FFT-Acoustic descriptors when classifying pitch compared to some timbral features of Librosa.

Eliana Rosales

Digital scores were introduced in contemporary music some decades ago, as well as extra-musical images and visual signs in music writing. What is not yet explored and seems to be a very fertile field of research is musical writing based on research on transmodality. This article presents an investigation on some of the possibilities of musical and sonic writing through the incorporation of images of food textures. This is part of more extensive work that includes research on sonic relationships with visual textures (not only food) and that also investigates the compositional and performative possibilities of transmodal digital dynamic scores (video scores).

Angela Precup

The Relationship Between the Online Advertising and the Growth of Narcissistic Behaviours in Youth Cyberpsychology analyzed, since the beginning of the 90s, human behaviour in the digital environment and emphasized a few defining effects of this behaviour, such as the online anonymity effect, related to the online uninhibited effect or the online escalation effect. (Aiken 2019, 13) Analyzed from this perspective, online narcissism, exacerbated by the intense social media usage during the Covid-19 pandemic, is a behaviour amplified in the digital environment, compared to its dimensions in the real life. The specialists underline that individuals who use social media excessively develop narcissistic tendencies, and the young manifest oppositional behaviours, aggressive and anxious tendencies, being the most vulnerable category of the online public. The article analyses the relationship between online publicity and the amplification of narcissistic behaviours in young users, using as a case study the campaign #TheSelfieTalk, launched by the brand DOVE in the spring of 2021, as a communication programme meant to fight the young girls’ vulnerability in social media.

Alexis Saadoun, Antoine Schein, Vincent Péan et al.

Optimizing hearing in patients with a unilateral cochlear implant (CI) and contralateral acoustic hearing is a challenge. Evolutionary algorithms (EA) can explore a large set of potential solutions in a stochastic manner to approach the optimum of a minimization problem. The objective of this study was to develop and evaluate an EA-based protocol to modify the default frequency settings of a MAP (fMAP) of the CI in patients with bimodal hearing. Methods: This monocentric prospective study included 27 adult CI users (with post-lingual deafness and contralateral functional hearing). A fitting program based on EA was developed to approach the best fMAP. Generated fMAPs were tested by speech recognition (word recognition score, WRS) in noise and free-field-like conditions. By combining these first fMAPs and adding some random changes, a total of 13 fMAPs over 3 generations were produced. Participants were evaluated before and 45 to 60 days after the fitting by WRS in noise and questionnaires on global sound quality and music perception in bimodal binaural conditions. Results: WRS in noise improved with the EA-based fitting in comparison to the default fMAP (41.67 ± 9.70% versus 64.63 ± 16.34%, respectively, <i>p</i> = 0.0001, signed-rank test). The global sound quality and music perception were also improved, as judged by ratings on questionnaires and scales. Finally, most patients chose to keep the new fitting definitively. Conclusions: By modifying the default fMAPs, the EA improved the speech discrimination in noise and the sound quality in bimodal binaural conditions.

Yan Gao, Lin Gao

Virtual reality technology has attracted researchers’ attention because it can provide users with a virtual interactive learning environment. Based on the theory of virtual reality technology, this paper proposes the system model design and architecture of virtual interactive music-assisted interactive teaching and realizes key technologies such as modeling, music-assisted interactive teaching scene interaction, and database access. In the simulation process, based on the VRML/X3D bottom interactive system template, after comprehensive application research, comparative analysis of various modeling methods, the system verified the use of digital cameras combined with the modeling technology based on music elements to collaboratively establish VRML virtual model connections. For inline node function, we combined it with Outline3D to realize VRML integration and then use VizX3D, X3D-Edit to build X3D model and realize the conversion from VRML to X3D, which solves the system completeness problem of music-assisted interactive teaching. The experimental results show that, according to the statistical analysis of the data after the experiment, when the position changes in the virtual 3D music-assisted interactive teaching scene, it will be displayed in the plane layer, and the real-time coordinates of the virtual music-assisted interactive teaching scene displayed in HTML have case. By analyzing the scenes and dynamic effects in the works, the effects of the virtual world can be better displayed through the performance of details. The better accuracy and delay error reached 89.7% and 3.11%, respectively, which effectively improved the effect and feasibility of applying virtual reality technology to music-assisted interactive teaching.

Yang Li, Qiuyi Zhang, Tianzhuo Gong

Music art is a form of conveying cultural information and humanistic emotions. From ancient times to the present, the form of music has undergone great changes. The change of music form is closely related to the change in dynasties, the development of the market economy, and the change in humanistic spirit. Today, the development of music has reached a relatively prosperous stage, which is closely related to the rapid development of the market economy. At the heart of the quantitative analysis is the study of associations between data. However, it will be a difficult task to analyze the relationship between the development scale of the market economy and the form of music innovation only by artificial means. This research mainly uses a convolutional neural network and long and short-term memory neural network technology to quantitatively analyze the relationship between the development scale of the market economy and the form of music innovation, which is mainly a quantitative analysis of classical music, pop music, and rap music. The research results show that convolutional neural networks and long short-term memory neural networks have sufficient capabilities to quantitatively analyze the relationship between the market development scale and the form of music innovation. Neural networks with LSTM layers have lower errors in predicting market economic correlates than neural network methods without LSTM layers. The error is reduced by 0.27%. For the prediction of innovative forms of music, the largest prediction error is only 2.93%, which is closely related to the variability of popular music. The linear correlation indices for the predictions of the three forms of musical innovation also all exceed 0.955.

Gilank Yonsutrisno, Muhamad Idris, Deria Sepdwiko

This study aims to describe mixed ensemble learning in extracurricular activities in class IX students of SMP Negeri 15 Palembang. The research method used is descriptive qualitative with data collection techniques in the form of observation, interviews, and documentation. The preparation of the trainer before doing the learning is to determine the material that is taught to students at each meeting, then the trainer determines the strategies and learning methods that will be used in learning so that learning objectives are achieved. The implementation of mixed ensemble learning at SMP Negeri 15 Palembang includes; 1) The mixed ensemble learning process consists of group division, placement and selection of musical instruments, learning for each instrument, 2) Mixed ensemble learning includes three stages, namely preparation, implementation, and evaluation

O. V. Andreeva

Introduction. Interest in the work of avant-garde artists does not wane as they move away from the 20th century. This is due to the fact that the musical avant-garde, becoming a sign of the time, reflected the most important trends of the outgoing era. In the paper, the Soviet musical avant-garde is considered in the historical, cultural and philosophical aspect in the context of the historical era, which determines the novelty of the study. An aspect of novelty is the analysis of music as a sphere of intercultural communication.Methodology and sources. The research methodology is based on the analysis of sources and literature, taking into account interdisciplinary approaches. A special role in the understanding of the theoretical aspects of the problem play the work of musicologists Yu. N. Kholopova, V. N. Kholopova, V. S. Price, R. L. Pospelova, A. I. Demchenko. Among the sources highlighted in cinema, photo- and phonodocuments, which depicts a vivid image of the era. The interviews with composers, which presents a wide canvas of social and musical life (A. Schnittke, A. Ivashkina entry and volkonskii, recording E. Dubinets) are of considerable interest. Historical, comparative, systematic and semiotic methods of analysis were used. Applies a comprehensive approach (formation and civilization methods of research and the Annales school). This allows for a new approach to the historical era of the middle1950s – 1980s.Results and discussion. Postwar culture is examined as a single space, in which a special role was played by the impulses of the “thaw”. They gave cultural phenomena such inertial dynamics, which preserves the spiritual maturity of society and produced changes of the 1990s, the results of the study show that in contrast to the political and socio-economic processes, cultural life in these years continued to feel the pulses of the “thaw”. Retaining the inertial dynamics of development, cultural processes have been far from stagnation, which casts doubt on the overall rating this time as the “era of stagnation”. This allows you to put a discussion question on the revision of the political clichés in relation to the period of the middle 1960s – 1980s in the Soviet Union as the “era of stagnation”.Conclusion. Soviet avant-garde, expressing the spirit of the time, represents the unique phenomenon in which reflected global trends, and the uniqueness of national culture. Experience avant-garde shows that cultural processes of the epoch middle 1950s – 1980s had a high development dynamics. The study of this period, especially in its spiritual sphere, requires interdisciplinary approaches and the use of modern, including foreign methods. Interest methods of the Annales school in its historical retrospect and the “new cultural history”.

Maria Francesca Piredda

Recently a series of films made by immigrants to Italy have emerged. These nevertheless remain marginal to the national industry, in part as Italy has no centralized policies that support the development of a “new Italian cinema” legally. This affects the production/distribution strategies and representational modes of migration cinema. This essay focuses on MigrArti, a call opened by MiBAC in 2015, which promotes creative initiatives in the fields of cinema, music, theatre and art, enabling migrants to introduce their traditions and their values in Italian society and culture. The objective is threefold: to question the concept of "Italian cinema" in relation to cultural shifts; to provide a picture of the funding of migrant cinema in Italy; to analyse the structure of the MigrArti call, in order to understand which subjects, production/distribution models and themes gain support, and why.

Максимова, Анастасия Михайловна

В статье рассматривается феномен маршевости, как характеризующий интенсивное проникновение в японскую музыку эпохи Мэйдзи западноевропейской посредством организации военных оркестров, исполняющих военные марши. Впервые формулируется воздействие маршевости, как знака эпохи Мэйдзи, на творчество не только иностранных, но и первых японских композиторов во главе с Ямадой Косаку.

Nicolas Vannson, Hamish Innes-Brown, Jeremy Marozeau

Musical enjoyment for cochlear implant (CI) recipients is often reported to be unsatisfactory. Our goal was to determine whether the musical experience of postlingually deafened adult CI recipients could be enriched by presenting the bass and treble clef parts of short polyphonic piano pieces separately to each ear (dichotic). Dichotic presentation should artificially enhance the lateralization cues of each part and help the listeners to better segregate them and thus provide greater clarity. We also hypothesized that perception of the intended emotion of the pieces and their overall enjoyment would be enhanced in the dichotic mode compared with the monophonic (both parts in the same ear) and the diotic mode (both parts in both ears). Twenty-eight piano pieces specifically composed to induce sad or happy emotions were selected. The tempo of the pieces, which ranged from lento to presto covaried with the intended emotion (from sad to happy). Thirty participants (11 normal-hearing listeners, 11 bimodal CI and hearing-aid users, and 8 bilaterally implanted CI users) participated in this study. Participants were asked to rate the perceived clarity, the intended emotion, and their preference of each piece in different listening modes. Results indicated that dichotic presentation produced small significant improvements in subjective ratings based on perceived clarity. We also found that preference and clarity ratings were significantly higher for pieces with fast tempi compared with slow tempi. However, no significant differences between diotic and dichotic presentation were found for the participants’ preference ratings, or their judgments of intended emotion.

Emmanouil Vlitakis

Der folgende Aufsatz untersucht die enge Wechselbeziehung zwischen Satztechnik, übergeordnetem Formaufbau und instrumentatorischen Entscheidungen im Menuett, dem 3. Satz aus Mozarts Sinfonie KV 550. Die Zusammenhänge zwischen diesen – oft getrennt betrachteten – Aspekten erweisen sich als dramaturgisch relevant, wobei das klangliche Moment die satztechnische ›Struktur‹ und ihre Form(ung) durchaus zu interpretieren und zu nuancieren vermag. The article examines the close relationship between texture, higher formal structure, and decisions about instrumentation in the third movement of Mozart’s Symphony K 555. The connections between these aspects – often investigated separately – prove to be relevant in terms of dramaturgy, whereupon timbre being definitely able to interprete and to shade the textural ›structure‹ and its form(ation).

Alf Arvidsson

When doing cultural history research, the researcher can come across already established opinions of what the history is in a field. Aitologies, lists of heroes and masters, turning point anecdotes and written histories are present as more or less taken for granted within a community. This is a convenient starting-point and background material for a researcher, but can also hide more than it shows by confirming contemporary definitions, power relations, inclusions and exclusions. As an example, I analyse tendencies within Swedish Jazz History by going through interviews made at the Centre for Swedish Folk Music and Jazz Research. A conventional attitude would be to accept the collection as fairly representative: the most important musicians have been interviewed and there is a good sample across different decades. However, in a reading “against the grain” by the use of Katherine Galloway Young’s concepts of Taleworld, storyrealm and interview situation, the interviews stand forward as negotiations of what jazz styles, what musicians and what qualities should be included in the Swedish jazz field and what is to be left out. In this case, foreign born musicians and women musicians are marginalized in Swedish jazz history, as well as styles that can seem to be too commercial. The musicians chosen are either stars, or witnesses to the stars. Working against the grain of the emic Swedish Jazz history is to problematize what has been outdefined and how, to ask counterfactual questions on what could have happened if other discourses had dominated, and reflect on new questions to ask, new definitions of the research object, and the need for new and/or revised documentation.

Sebastian Sprenger

In den Liedern und Symphonien Gustav Mahlers begegnen offene Quint- und Oktavparallelen zu häufig, als daß sie als marginale Erscheinungen anzusprechen wären. Der vorliegende Aufsatz skizziert eine Typologie der kompositorischen Kontexte, in die diese nach herkömmlichem Verständnis fehlerhaften Fortschreitungen eingebettet sind. Dies führt zu einer Polarisierung: Auf der einen Seite finden sich Satztechniken, die zum tradierten Tonsatz gleichsam a priori querstehen (etwa Parallelverschiebung grundstelliger Dreiklänge oder heterophone Bildungen) und sich somit am besten aus ihrer Eigengesetzlichkeit beschreiben lassen; dem stehen traditionsnähere Strukturen (choralartige oder kontrapunktische Passagen) gegenüber, innerhalb derer den genannten Parallelen eher eine Funktion als – wie auch immer motivierte – Abweichung, als Negation einer Norm zukommt. Es ergibt sich die eigentümliche Ambivalenz, daß möglicherweise gerade der von Mahler selbst beklagte Mangel an kontrapunktischer Routine die Voraussetzung für satztechnische Optionen bot, die sich aus heutiger Sicht durchaus modern, zumindest charakteristisch für Mahlers Personalstil, ausnehmen.