Hasil untuk "Musical instruction and study"

Ezekiel Olagunju, Deborah Adeyeye, Dorcas O. EZEKIEL

This article examines the role of conceptual metaphor in structuring emotional experience and identity formation in German popular music produced between 2000 and 2010. Drawing on Conceptual Metaphor Theory and recent cognitive–cultural approaches to meaning-making, the study conceptualises song lyrics not merely as stylistic artefacts but as cognitively salient sites in which abstract experiences such as love, uncertainty, intimacy, and self-orientation are rendered intelligible through recurring metaphorical mappings. Using a qualitatively curated corpus of widely circulated German-language songs from the early twenty-first century, the analysis identifies and categorises metaphorical expressions according to their underlying source–target domain relationships and cognitive functions. The findings reveal a marked predominance of structural metaphors grounded in domains of movement, force, containment, and spatial orientation, suggesting that these mappings function as shared cognitive frameworks through which young listeners narrativise emotional vulnerability and relational instability characteristic of the period. Rather than operating in isolation, the identified metaphors form interconnected clusters that stabilise meaning across texts and artists, pointing to the emergence of what this article terms musical metaphor ecologies. By situating metaphor use within its historical and cultural context, the study contributes to cognitive linguistics by demonstrating how popular music participates in the collective organisation of emotional experience. The article concludes by outlining pedagogical implications for German as a foreign or second language (Deutsch als Fremdsprache/Deutsch als Zweitsprache - DaF/DaZ) instruction, arguing that song-based metaphor analysis can enhance figurative competence, cultural interpretation, and learner engagement, particularly in non-immersive learning environments.

Jianyun Wei

The present article investigated the effects of emotional expressive training on music education on the psychological motivation among children based on quasi-experimental data provided by Guri music education project in Brazil. The results found that this training was significant in reducing the emotional symptoms in children and that the effect was more pronounced in children in families with low maternal educational level. The training also assisted children in acquiring a better understanding of musical selections and relate to the music emotionally, especially sad music. The study also indicates using the Self-Determination Theory that emotional promotion was a key element in internalizing the learning motivation, whereby, high-quality autonomous motivation was realized by satisfying the children with the need to belong and to be competent. This study presents a theoretical model, which correlates emotional enhancement to motivation internalization and recommends to employ systematic practice of emotional expression, in an autonomous-supportive instructional framework. The results present useful insights that would help in bettering the psychological and social development of children and give empirical evidence on why music education should be used as a means of promoting educational equity

Daeun Hwang, Xuyuan Cai, Edward F. Melcer et al.

Video game music (VGM) is often studied under the same lens as film music, which largely focuses on its theoretical functionality with relation to the identified genres of the media. However, till date, we are unaware of any systematic approach that analyzes the quantifiable musical features in VGM across several identified game genres. Therefore, we extracted musical features from VGM in games from three sub-genres of Role-Playing Games (RPG), and then hypothesized how different musical features are correlated to the perceptions and portrayals of each genre. This observed correlation may be used to further suggest such features are relevant to the expected storytelling elements or play mechanics associated with the sub-genre.

Xinlei Niu, K. Cheuk, Jing Zhang et al.

Music editing is an important step in music production, which has broad applications, including game development and film production. Most existing zero-shot text-guided editing methods rely on pretrained diffusion models by involving forward-backward diffusion processes. However, these methods often struggle to preserve the musical content. Additionally, text instructions alone usually fail to accurately describe the desired music. In this paper, we propose two music editing methods that improve the consistency between the original and edited music by leveraging score distillation. The first method, SteerMusic, is a coarse-grained zero-shot editing approach using delta denoising score. The second method, SteerMusic+, enables fine-grained personalized music editing by manipulating a concept token that represents a user-defined musical style. SteerMusic+ allows for the editing of music into user-defined musical styles that cannot be achieved by the text instructions alone. Experimental results show that our methods outperform existing approaches in preserving both music content consistency and editing fidelity. User studies further validate that our methods achieve superior music editing quality.

Christian Hurtado Carrillo

La obra de José María Valle–Riestra (Lima, 1858 – 1925) ha sido poco difundida y estudiada. Aún cuando el compositor estaba con vida, muchas veces no se le brindó el apoyo necesario, excepto cuando tuvo lugar el reestreno de su ópera Ollanta en 1920, con pleno respaldo del presidente Augusto B. Leguía, año en que fue puesta en escena en la ciudad de Lima por las prestigiosas compañías de ópera italianas Bracale y Salvati. Ese reestreno fue un gran éxito, con doce representaciones, en el marco de una larga temporada de setenta y dos funciones en el Teatro Forero (hoy Teatro Municipal de Lima). A nuestro juicio, el núcleo de la ópera Ollanta es el Dúo–Yaraví del segundo acto, teniendo en cuenta que el yaraví, como género, era considerado “música nacional” en el siglo XIX. Las numerosas reimpresiones de esta selección de la ópera, en su versión original y revisada, además de arreglos para cuerdas y piano solo, entre otros detalles históricos, respaldan nuestra afirmación. En el presente artículo hacemos también un somero análisis morfosintáctico del Dúo– Yaraví contextualizándolo en la época en que fue compuesto. Elaboramos finalmente algunas sugerencias técnico–interpretativas con relación a la parte pianística de la partitura vocal, con el propósito de colaborar al estudio de esta ópera a partir de esta selección.

Aji Santoso Nugroho, Angga Bimo Satoto, Asep Saepudin

Penelitian ini dilakukan untuk mengidentifikasi evektivitas penerapan model aural dalam pembelajaran  ricikan gender di lingkungan pendidikan formal ISI Yogyakarta. Gender merupakan salah satu ricikan gamelan Jawa yang memiliki peran musikal sangat penting. Pola penyajian ricikan gender dimainkan menggunakan dua tangan secara bersamaan maupun bergantian yang menghasilkan melodi yang disebut dengan cengkok-cengkok genderan.  Cengkok genderan merupakan sebuah tafsir (interpretasi), imajinasi atau kreatifitas seorang pengrawit untuk menentukan pola, teknik dan gaya dalam memainkan ricikan gender. Kemampuan tafsir, imajinasi dan kreatifitas tersebut muncul tidak terlepas dari pengaruh metode belajar. Metode penelitian menggunakan metode kualitatif dengan pendekatan studi kasus. Obyek materi dalam penelitian terdiri dari mahasiswa Jurusan Karawitan ISI Yogyakarta semester dua. Total mahasiswa sebanyak 10 anak yaitu terdiri dari 9 mahasiswa dan 1 darmasiswa dari Negara Canada dengan latar belakang belum mengenal gamelan Jawa. Dalam penelitian ini data diperoleh melalui observasi partisipan dan wawancara. Validasi data didapat melalui member checking, selanjutnya dilakukan pengukuran melalui kuesioner self-report serta diskusi kelompok terpadu. analisis tematik akan digunakan untuk mengidentifikasi tema dan pola dalam data dengan Kerangka kerja pengkodean 6 fase. Hasil penelitian menunjukkan bahwa 7 dari 10 mahasiswa reguler dan darmasiswa menyatakan bahwa model aural lebih efektif digunakan sebagai metode pembelajaran untuk mencapai tingkat daya tafsir (interpretasi), imajinasi atau kreatifitas dalam menguasai cengkok genderan. Reconceptualizing Aural-Based Instruction of the Gender Ricikan: An Interpretive Approach to Inner Musical Sense in Formal Education Abstract This study aims to identify the effectiveness of applying an aural model in teaching the Ricikan gender within the formal educational environment of ISI Yogyakarta. Gender is one of the essential ricikan (instrumental components) in Javanese gamelan, holding a critical musical role. It is performed using both hands simultaneously or alternately to produce melodic patterns known as cengkok genderan. These cengkok represent interpretations, imaginative constructs, or creative expressions of a pengrawit (gamelan musician) in determining the patterns, techniques, and stylistic approaches when playing the gender. The chosen learning method profoundly influences interpretative, imaginative, and creative abilities. This research employed a qualitative methodology with a case study approach. The research subjects consisted of second-semester students of the Karawitan Department at ISI Yogyakarta, totaling ten participants: nine local students and one darmasiswa (foreign scholarship student) from Canada, all of whom had no prior experience with Javanese gamelan. Data were collected through participant observation and interviews. Data validation was conducted via member checking, followed by measurements using self-report questionnaires and focused group discussions. Thematic analysis used a six-phase coding framework to identify recurring themes and patterns. The study results indicate that seven out of ten participants, including both regular students and the darmasiswa, affirmed that the aural model proved more effective as a learning method in enhancing interpretative, imaginative, and creative capacities in mastering cengkok genderan. Keywords: Javanese gamelan; gender ricikan; aural learning model; interpretive musical feeling; formal music education

Shuang Wang, Beh Wen Fen, Kenny S. L. Cheah

This study explores the role of self-efficacy in enhancing expressive performance capabilities among music students specializing in traditional Chinese instruments at universities in Henan Province, China. It investigates how self-efficacy influences musical expression, emotional regulation, and performance confidence, particularly in a context where traditional technical training often outweighs emotional and psychological support. The research also examines the impact of teaching strategies, guided by a social leadership framework, in promoting students’ self-efficacy and expressive abilities. This study provides insights into how self-efficacy theory can be applied to improve expressive performance, reduce performance anxiety, and cultivate a more holistic approach to music education in under-resourced regions. The findings suggest that fostering emotional resilience and psychological readiness, through targeted instructional practices and supportive teacher-student relationships, is key to enhancing performance outcomes. By bridging the gap between technical proficiency and emotional expression, this research contributes to the development of more comprehensive music education models in traditional Chinese instrumental pedagogy.

T. Adéolá, Laja Solomon Adeyemi, Taiwo Adebusola Olalusi et al.

One of the dynamics of the traditional African societies is that music is a common feature of cultural expression. In Nigeria, traditional music which is rooted in the belief system and the socio religious activities of the people finds space in the musical practice of the country and therefore attracts attention of scholars for documentation and analysis. Bolojo music, a traditional genre rooted in Yorùbá oral tradition from the Yewa people of Ogun State, Nigeria serves as a cultural expression that embodies the socio-cultural dynamics, historical contexts, and musical heritage of the Yewa people. This music has received scholarly studies in aspects such as its history, sociology, its dance forms, and song texts, but its ethno musicological study is still under explored. This study is therefore an ethno musicological examination of Bòlòjò music. Engaging established theories in ethnomusicology and African cultural studies as its theoretical framework, the study examines the musical structure, social functions, adaptability, and communicative roles of Bolojo within Yewa society. The study employs qualitative research methods including participant observation, interviews with local musicians, and audio-visual recordings of Bòlòjò performances. Through participant observation, the researchers engage in communal events where Bòlòjò music is performed, gaining first-hand insights into its social functions. Interviews with Yewa elders and Bòlòjò musicians provide valuable perspectives on the genre’s cultural meanings and evolution over time. Audio-visual recordings further aid in analyzing musical structures, rhythmic patterns, and lyrical themes with Bòlòjò music. Bòlòjò music is renowned for its unique rhythms, showcasing the call-and-response patterns that foster community participation and engagement during performances, also with the variety of traditional instruments integral to Bòlòjò performances, particularly the distinctive use of drum such as talking drum (gángan), àkúbà or kóngà, bèmbé, bàtá, which create complex rhythmic patterns, as well as agogo (metal gong), sèkèrè (rattles), and the introduction of guitar by King Jossy Friday. As an essential cultural practice, Bòlòjò music plays a central role in rites of passage, festivals, weddings, funerals, communal gatherings, where it not only entertains but also reinforces Yewa identity and heritage in social cohesion, cultural expression, and moral instruction. This study concludes that Bòlòjò music serves as a vital expression of the Yewa people’s identity and cultural heritage. Its origins are rooted in the historical, social, and spiritual fabric of the community, making it not only a form of entertainment but also a powerful medium for preserving cultural memory and fostering community unity. As Bòlòjò music continues to adapt and evolve, it remains a testament to the resilience and creativity of the Yewa people in navigating their cultural heritage. The need to preserve and promote Bòlòjò music has become urgent, particularly in the face of globalization and changing social landscapes. This paper recommends that archival documentation, festival support, gender inclusivity and international collaborations should serve as safeguard for the preservation of Bòlòjò music.

Nayoung Lee, Jihae Shin

Objectives This study aimed to analyze the processes of cooperative learning implemented by secondary music teachers in music classes and to explore their perceptions in depth. Methods In-depth interviews were conducted with six secondary music teachers who utilize cooperative learning in their classes. Additionally, a non-participatory observation was conducted on a middle school music class located in Gyeonggi-do, where cooperative learning was being practised, as well as on cooperative music activity videos provided by the research participants. Results First, it was found that music teachers utilize cooperative learning due to its educational benefits, such as providing students with opportunities to participate in class, fostering the joy of making music together, and expanding the scope and depth of music learning. Second, music teachers were revealed to perform various roles to ensure the effective implementation of cooperative learning, such as selecting appropriate cooperative learning models suitable for the lesson content and adjusting group compositions based on students’ tendencies and group size. Third, it was identified that music teachers face challenges in the application of cooperative learning, particularly in securing the objectivity of assessments and addressing the limited instructional hours allocated for music classes. Conclusions Music teachers should actively incorporate cooperative learning to help students engage in dynamic and positive collaborative activities that connect the learning process to everyday life, enabling them to enjoy a wide range of musical experiences. Furthermore, institutional and practical support from teachers, schools, and educational authorities for the effective use of cooperative learning in music education is expected to maximize educational outcomes.

Jihye Kim

Objectives This study focused on the concept of 'trans identity' as an alternative to convergent education for traditional music.The pansori narrative has a concept of 'trans identity' in which identity is transformed, which is expanded from a standardized figure figure according to the circumstances of the times and is implemented in various styles. The purpose of this study is to understand the pansori narrative and seek its value as traditional content by examining the figures of characters appearing in pansori and the character representation of the concept of 'trans identity'. Methods Among the five pansori layers, the characteristics and concepts of Chunhyangga, Jeokbyeokga, Heungboga, and Shimcheongga, excluding Sugungga, were considered, and the characteristics and examples of transidentity characters according to characters and narratives were considered.In addition, the difference in the type of process that is changed from the existing character was compared. Results The male and female protagonists in Chunhyangga show characteristics that transcend identity, and Jeokbyeokga shows anguish among the emotions of men and humans through actions centered on male characters.Heungboga shows a change in identity due to environmental reasons, not individual will, while Shimcheongga shows a change through self-realization in which the heroine tries to change the environment directly, Conclusions Pansori narratives, which have both narrative and musical essence, are an important topic in trans-identity research because they have expandability according to character transformation.The concept of transidentity and case studies shown in Pansori are of sufficient value as convergent Korean classical music education, and various studies can be expected in the future.

Hyekeun Kwon

Objectives The purpose of this study is to apply the structure and principles of LT cooperative learning to elementary Korean traditional music composition classes and to develop practical instructional design principles that can be implemented in educational settings. Methods In this study, a design and development research methodology was employed. Relevant prior literature was analyzed to establish an initial set of instructional design principles by applying the instructional principles of LT cooperative learning. The derived principles underwent two rounds of expert review involving music education specialists with expertise in Korean traditional music to verify their internal validity. Based on the feedback received, the principles were revised and refined to develop the final instructional design principles for elementary Korean traditional music composition classes. Results As The final instructional design principles were developed based on the five fundamental principles of LT cooperative learning, resulting in 11 design principles and 23 detailed guidelines. When applied, these principles offer the following benefits: First, they enhance students' sense of responsibility and learning motivation. Second, they foster a collaborative learning culture. Third, they provide opportunities for creativity in gugak composition, allowing students to experiment with musical elements such as jangdan (traditional rhythmic patterns), tori (melodic modes), and form. Fourth, they cultivate students' collaborative skills. Fifth, they improve community and communication competencies through process-oriented assessment. Conclusions This This study applied the structure and principles of LT cooperative learning to elementary gugak composition lessons, developing practical instructional design principles that can be implemented in educational settings. It provided a framework that enhances students' self-directed learning and sense of responsibility, incorporates systematic assessment and feedback in the creative process, and presents detailed guidelines on gugak elements to facilitate students' collaborative experiences. he significance of this study lies in establishing a fundamental foundation for designing elementary gugak composition lessons utilizing LT cooperative learning.

Keon Ju Maverick Lee, Jeff Ens, Sara Adkins et al.

The Musical Instrument Digital Interface (MIDI), introduced in 1983, revolutionized music production by allowing computers and instruments to communicate efficiently. MIDI files encode musical instructions compactly, facilitating convenient music sharing. They benefit Music Information Retrieval (MIR), aiding in research on music understanding, computational musicology, and generative music. The GigaMIDI dataset contains over 1.4 million unique MIDI files, encompassing 1.8 billion MIDI note events and over 5.3 million MIDI tracks. GigaMIDI is currently the largest collection of symbolic music in MIDI format available for research purposes under fair dealing. Distinguishing between non-expressive and expressive MIDI tracks is challenging, as MIDI files do not inherently make this distinction. To address this issue, we introduce a set of innovative heuristics for detecting expressive music performance. These include the Distinctive Note Velocity Ratio (DNVR) heuristic, which analyzes MIDI note velocity; the Distinctive Note Onset Deviation Ratio (DNODR) heuristic, which examines deviations in note onset times; and the Note Onset Median Metric Level (NOMML) heuristic, which evaluates onset positions relative to metric levels. Our evaluation demonstrates these heuristics effectively differentiate between non-expressive and expressive MIDI tracks. Furthermore, after evaluation, we create the most substantial expressive MIDI dataset, employing our heuristic, NOMML. This curated iteration of GigaMIDI encompasses expressively-performed instrument tracks detected by NOMML, containing all General MIDI instruments, constituting 31% of the GigaMIDI dataset, totalling 1,655,649 tracks.

Eric Easthope

Biofeedback is being used more recently as a general control paradigm for human-computer interfaces (HCIs). While biofeedback especially from breath has seen increasing uptake as a controller for novel musical interfaces, new interfaces for musical expression (NIMEs), the community has not given as much attention to the heart. The heart is just as intimate a part of music as breath and it is argued that the heart determines our perception of time and so indirectly our perception of music. Inspired by this I demonstrate a photoplethysmogram (PPG)-based NIME controller using heart rate as a 1D control parameter to transform the qualities of sounds in real-time over a Bluetooth wireless HCI. I apply time scaling to "warp" audio buffers inbound to the sound card, and play these transformed audio buffers back to the listener wearing the PPG sensor, creating a hypothetical perceptual biofeedback loop: changes in sound change heart rate to change PPG measurements to change sound. I discuss how a sound-heart-PPG biofeedback loop possibly affords greater control and/or variety of movements with a 1D controller, how controlling the space and/or time scale of sound playback with biofeedback makes for possibilities in performance ambience, and I briefly discuss generative latent spaces as a possible way to extend a 1D PPG control space.

Simone Facchiano, Giorgio Strano, Donato Crisostomi et al.

Understanding how large audio models represent music, and using that understanding to steer generation, is both challenging and underexplored. Inspired by mechanistic interpretability in language models, where direction vectors in transformer residual streams are key to model analysis and control, we investigate similar techniques in the audio domain. This paper presents the first study of latent direction vectors in large audio models and their use for continuous control of musical attributes in text-to-music generation. Focusing on binary concepts like tempo (fast vs. slow) and timbre (bright vs. dark), we compute steering vectors using the difference-in-means method on curated prompt sets. These vectors, scaled by a coefficient and injected into intermediate activations, allow fine-grained modulation of specific musical traits while preserving overall audio quality. We analyze the effect of steering strength, compare injection strategies, and identify layers with the greatest influence. Our findings highlight the promise of direction-based steering as a more mechanistic and interpretable approach to controllable music generation.

Lilian Marey, Charlotte Laclau, Bruno Sguerra et al.

The increasing availability of user data on music streaming platforms opens up new possibilities for analyzing music consumption. However, understanding the evolution of user preferences remains a complex challenge, particularly as their musical tastes change over time. This paper uses the dictionary learning paradigm to model user trajectories across different musical genres. We define a new framework that captures recurring patterns in genre trajectories, called pathlets, enabling the creation of comprehensible trajectory embeddings. We show that pathlet learning reveals relevant listening patterns that can be analyzed both qualitatively and quantitatively. This work improves our understanding of users' interactions with music and opens up avenues of research into user behavior and fostering diversity in recommender systems. A dataset of 2000 user histories tagged by genre over 17 months, supplied by Deezer (a leading music streaming company), is also released with the code.

D. Reed

This paper extends analysis of the ‘assessment receipt’ to include talk and embodied interaction during ‘performance responses’ in music masterclass interactions. By grounding the analysis in questions of performance completion and audience applause onset, it details the utility of variously position assessment tokens, during performance, before applause, during applause and after applause. These different verbal assessment positions afford, in different ways, instructional interaction by situating the instructor as next relevant speaker. They also help coordinate performance completions and audience applause onset. The paper also identifies the ‘receipt assessment’, which reverses the component ordering of the earlier phenomenon. The paper is relevant to those studying performance as interaction and extends and deepens the growing insights into musical instructional settings.

Zixuan Peng

Despite Schenkerian analysis's widespread use in music theory education in many countries, this analytical approach has not been comprehensively introduced or widely applied in Japan. This study explores the application of Schenkerian analysis to deepen the understanding of musical structure among non-music major students in Japan. Utilizing foreground graphs, the study aims to evaluate the effectiveness of teaching Schenkerian techniques to individuals without extensive theoretical backgrounds. Five participants from Kyushu University engaged in a structured learning process involving listening, analysis, and comparison of musical scores and Schenkerian graphs. Qualitative data were collected through a combination of multiple-choice questions and open-ended responses. Results indicate that foreground graphs significantly enhance participants' comprehension of musical structure, though understanding the theoretical principles of Schenkerian analysis varied among participants. Feedback suggests that while the method is effective, additional instructional strategies are needed to address the complexity of Schenkerian concepts. Future research will focus on increasing participant numbers, incorporating practical activities, using diverse musical examples, and adopting qualitative methods to further explore the educational potential of Schenkerian analysis.

Aurelio Tello Malpartida

El 9 de diciembre de 1924, el presidente Augusto B. Leguía realizó una ceremonia en conmemoración del centenario de la Batalla de Ayacucho, donde el Perú y parte de Sudamérica obtuvieron su independencia. Un himno de corta duración, escrito por Severino Sedó, fue cantado en la ceremonia central que organizó el gobierno de Leguía Coincidiendo con las conmemoraciones de los hechos, Pío Max Medina Cárdenas, abogado y político, publicó en 1924 una obra titulada Ayacucho, Homenaje a la magna empresa de la participación política, en el centenario de la batalla del 9 de diciembre de 1824, que incluía el texto del Himno del Bicentenario de la Batalla de Ayacucho.

Gökçe Akgün

The purpose of the study is to examine publications on the explanation of training and ballet techniques with regard to ballet movements. The aim was to determine the density of preferences for ballet movements. Electronic databases were used to identify full-text publications in Turkish and English. The keywords used were "ballet exercise", "ballet training" and "ballet movements". To examine current studies, publications between 2001 and 2023 were included in the compilation. Training programs that improve ballet technique and publications on ballet training were systematically examined. A total of 33 publications on ballet technique improvement training programs and 31 publications on ballet training were included in the review. It has been understood that publications improving ballet technique mainly include method comparisons, bar movements, jumping and turning exercises. Ballet dancers, modern dancers, children, people with health problems and sedentary people are five different classifications of participants in the ballet training publications. All participant groups have bar and middle exercises. The widespread use of plié and battement tendu movements are noteworthy in terms of movement. As a result of the systematic review, ballet methods come to the fore as useful publications for developing technical excellence. In the studies examined, it was understood that middle exercises were mostly used by ballet dancers, and bar exercises were mostly used by sedentary individuals and individuals with health problems. It is possible for ballet training to be planned according to different participant characteristics and to vary in terms of movement execution that possible to choose various ballet movements in different training programs.

Burcu Kalkanoğlu

Digital story is an instructional technology material created by blending elements such as audio, image, video related to the subject to be told with the help of digital tools. This study aimed to determine music teachers’ views on digital story. Qualitative research design was utilized in the study. The sample of the study consisted of volunteer music teachers in Turkey. In order to collect the data, the interview form prepared by the researcher was completed by taking expert opinion and delivered to the teachers via Google Forms. The data of the study were analyzed by content analysis method. In line with the information provided, positive results were obtained regarding the use of digital story; music teachers were open to the use of digital story in lessons. It was seen as a very useful, entertaining and motivating material for students, and important results were obtained such as their desire to receive training on digital story and their need for this training.