Hasil untuk "Music"

Olof Mogren

Generative adversarial networks have been proposed as a way of efficiently training deep generative neural networks. We propose a generative adversarial model that works on continuous sequential data, and apply it by training it on a collection of classical music. We conclude that it generates music that sounds better and better as the model is trained, report statistics on generated music, and let the reader judge the quality by downloading the generated songs.

Jane Pettegree

A remarkable project to record the Complete Songs of Robert Tannahill, the Paisley weaver-poet, has concluded with the 2024 release of a fifth and final disc, a fitting tribute marking the 250th anniversary of Tannahill’s birth. This review article discusses why Tannahill is an important and distinctive voice in the Scottish traditional song repertoire, and assesses the achievements of the recording project.

Scott Gardiner

Hiroshi Bando

Gouk (2000) dari catatan sejarah terapi musik, sebenarnya musik telah berabad lamanya menjadi media terapi demikian pula banyak contoh penyembuhan atau kekuatan penyembuhan dari musik dalam sejarah berbagai budaya (dalam Djohan, 2006). Beberapa dekade lalu, terapi musik masih diterima sebagai masalah perilaku berdasarkan konsep ilmu sosial. Namun, saat ini, terapi musik sudah sampai pada pengaruh atau peran musik dalam kehidupan manusia dan masyarakat

Lukas Erbrich, Christian-Mathias Wellbrock, Frank Lobigs et al.

This study explores the potential of cross-publisher bundled offers as a strategy for increasing subscription sales in digital journalism. While innovative forms of bundling are an integral part of media distribution in music (e.g., Spotify) and film (e.g., Netflix), their adoption in digital journalism has been limited, despite research showing that bundled access to products can increase consumers’ willingness to pay, especially in younger target groups. Against this background, we conduct a choice-based conjoint analysis using data from a representative survey of the German online population (n = 1,542). Results show that bundling digital journalism has the potential to raise publisher revenues and subscription sales in digital markets. In particular, they highlight that a comprehensive, cross-publisher bundled offer, available at a fixed monthly rate, has the potential to stimulate digital journalism sales among different consumer groups in a relatively balanced way, including those who are typically more reluctant towards journalism. These findings align with the principles of information goods economics, which posit that maximising the size of digital content bundles often tends to be the most profitable distribution strategy. However, it is crucial to examine these findings in the context of the potential negative effects associated with this emerging business model in digital journalism, such as the cannibalisation of print subscriptions, diminished brand identification, and a possible imbalanced distribution of revenues.

[Editor]

Grigory Kopytin, Marina Ivanova, Maria Herrojo Ruiz et al.

A central question in behavioural neuroscience is how different rewards modulate learning. While the role of monetary rewards is well-studied in decision-making research, the influence of abstract rewards like music remains poorly understood. This study investigated the dissociable effects of these two reward types on decision making. Forty participants completed two decision-making tasks, each characterised by probabilistic associations between stimuli and rewards, with probabilities changing over time to reflect environmental volatility. In each task, choices were reinforced either by monetary outcomes (win/lose) or by the endings of musical melodies (consonant/dissonant). We applied the Hierarchical Gaussian Filter, a validated hierarchical Bayesian framework, to model learning under these two conditions. Bayesian statistics provided evidence for similar learning patterns across both reward types, suggesting individuals’ similar adaptability. However, within the musical task, individual preferences for consonance over dissonance explained some aspects of learning. Specifically, correlation analyses indicated that participants more tolerant of dissonance behaved more stochastically in their belief-to-response mappings and were less likely to choose the response associated with the current prediction for a consonant ending, driven by higher volatility estimates. By contrast, participants averse to dissonance showed increased tonic volatility, leading to larger updates in reward tendency beliefs.

Xing Wang, Degao Li, Yi Li et al.

To address the controversy on cognitive resources sharedness between language and music in semantic processing, two experiments were conducted via the interference paradigm using the Event-Related Potential (ERP) technique. In Experiment 1, a five-word sentence and a five-chord sequence were simultaneously presented in a trial. The sentence (e.g., '警察捡到了一部手机/钱包*,' The policeman found a mobile phone/wallet) ended with a semantically acceptable or unacceptable number-classifier-noun collocation (NCN), and the final chord of the chord sequence was congruent or incongruent with the preceding chords in tone. The stimuli in Experiment 1 were adapted in Experiment 2: The particle '了' was removed, and a three-word-long, object-gap relative clause was inserted ahead of the noun of the NCN in each sentence; two chords were inserted ahead of the third chord in each chord sequence. Both similarities and differences were revealed between Experiments 1 and 2, concerning the influences of the manipulated variables on the amplitude of the ERP component N400. In conclusion, the dissolution of semantic violation in sentence reading was likely to happen in parallel with music processing in chord sequence comprehension by non-musician Chinese native speakers, but interaction was observable between language and music in semantic processing when the sentences ended with long-distance NCNs.

Isaac Grados García

A lo largo de este año 2022, la Universidad Nacional de Música ha realizado dos publicaciones fonográficas, como parte de las actividades que realiza la Vicepresidencia de Investigación de esta institución, por medio de la Dirección de Innovación y Transferencia Tecnológica y el Laboratorio de Música Electroacústica y Arte Sonoro. Estos discos cuentan con la participación de estudiantes de esta universidad, y representan una mirada a una nueva generación de compositores y sus obras.

Cyril Camus

Jocelyn Rozé, Mitsuko Aramaki, Richard Kronland-Martinet et al.

Abstract During the last 20 years, the role of musicians’ body movements has emerged as a central question in instrument practice: Why do musicians make so many postural movements, for instance, with their torsos and heads, while playing musical instruments? The musical significance of such ancillary gestures is still an enigma and therefore remains a major pedagogical challenge, since one does not know if these movements should be considered essential embodied skills that improve musical expressivity. Although previous studies established clear connections between musicians’ body movements and musical structures (particularly for clarinet, piano or violin performances), no evidence of direct relationships between body movements and the quality of the produced timbre has ever been found. In this study, focusing on the area of bowed-string instruments, we address the problem by showing that cellists use a set of primary postural directions to develop fluid kinematic bow features (velocity, acceleration) that prevent the production of poor quality (i.e., harsh, shrill, whistling) sounds. By comparing the body-related angles between normal and posturally constrained playing situations, our results reveal that the chest rotation and vertical inclination made by cellists act as coordinative support for the kinematics of the bowing gesture. These findings support the experimental works of Alexander, especially those that showed the role of head movements with respect to the upper torso (the so-called primary control) in ensuring the smooth transmission of fine motor control in musicians all the way to the produced sound. More generally, our research highlights the importance of focusing on this fundamental postural sense to improve the quality of human activities across different domains (music, dance, sports, rehabilitation, working positions, etc.).

Faustino Núñez

RESUMEN: Si los italianos son dulces, los españoles somos salaos. La sal como analogía de una idiosincrasia que mezcla lo exótico con el desparpajo propio de los hispanos. En contraposición a la delicadeza del europeo el temperamento español. Aunque sea considerado un tópico, en nuestra música queda reflejado a la perfección ese carácter. La música española es extrovertida, abierta, simpática, sociables, cordial, salada. En los géneros inspirados en la música tradicional más que en aquellos cultivos en la música académica se aprecia ese carácter, y entre ellos, y ahí vamos a centrar nuestra exposición, en las tonadillas, sainetes y entremeses de la segunda mitad del siglo XVIII y en nuestro género más internacional, el flamenco. En esta ponencia repasamos aquellos momentos en los que la sal es protagonista y, en la medida de lo posible, expondremos los elementos musicales que podemos considerar salados en los géneros mencionados. Estos contenidos han sido recopilados en los últimos años a través de la investigación en los archivos y bibliotecas que contienen las partituras de estas obras, así como el análisis de los estilos flamencos.   ABSTRACT: If the Italians are sweet, the Spaniards are salty (salaos). Salt as an analogy of an idiosyncrasy that mixes the exotic with the self-confidence of Hispanics. In contrast to the delicacy of the European, the Spanish temperament. Although it is considered a topic, in our music that character is perfectly reflected. Spanish music is outgoing, open, friendly, sociable, friendly, salty. In the genres inspired by traditional music more than in those crops in academic music, that character is appreciated, and between them. And there we will focus our exhibition, on the tonadillas, saleros and hors d'oeuvres of the second half of the 18th century and on our most international genre, flamenco. In this paper, we review those moments in which salt is the protagonist and, as far as possible, we will present the musical elements that we can consider salty in the aforementioned genres. These contents have been compiled in recent years through research in the archives and libraries that contain the scores of these works, as well as the analysis of flamenco styles.

María Victoria Arjona González

La Fundación Archivo Manuel de Falla (Granada) incorporó en 2013 el legado del clavecinista Rafael Puyana (1913-1931). Si bien es conocida su faceta como intérprete, pocos datos se saben de la formación que recibió antes de su debut y consolidación artística, en concreto del período en el que estudió con Wanda Landowska en Lakeville (Connecticut). Es por ello que es necesaria una aproximación al conocimiento que la clavecinista polaca le transmitió y la manera en que lo hizo, al igual que la ayuda que prestó al joven intérprete para darse a conocer en las salas de concierto. El presente trabajo se fundamenta en una investigación de tipo documental, a partir del vaciado y análisis sistemático de fuentes musicales encontradas en su biblioteca personal, donde se ha trabajado con un importante corpus de correspondencia y programas de concierto, que han sido complementadas con información de otros fondos.

Lauren K. Fink, Elke B. Lange, Rudolf Groner

Though eye-tracking is typically a methodology applied in the visual research domain, recent studies suggest its relevance in the context of music research. There exists a community of researchers interested in this kind of research from varied disciplinary backgrounds scattered across the globe. Therefore, in August 2017, an international conference was held at the Max Planck Institute for Empirical Aesthetics in Frankfurt, Germany, to bring this research community together. The conference was dedicated to the topic of music and eye-tracking, asking the question: what do eye movements, pupil dilation, and blinking activity tell us about musical processing? This special issue is constituted of top-scoring research from the conference and spans a range of music-related topics. From tracking the gaze of performers in musical trios to basic research on how eye movements are affected by background music, the contents of this special issue highlight a variety of experimental approaches and possible applications of eye-tracking in music research.

Ana Lombardía

The sonatas for violin and accompaniment by José Herrando (Valencia, ca. 1720–Madrid, 1763) have undergone various transformations since the 1920s, reflecting a process of continuous ‘re-creation’ that illustrates the latest notions of ‘musical work’. Changes in performance practice, especially the emergence of Historically Informed Perfomance since the 80s, have given rise to several waves of revival for Herrando’s music, from different perspectives. In this process, key figures of Hispanic musicology and ‘early music’ have participated, including José Subirá, Joaquín Nin, and Emilio Moreno, together with less remembered musicians, such as Josefina Salvador. This process is still ongoing, as shown by recent performances by Fabio Biondi, the finalists of the Francesco Maria Ruspoli Competition, or Concerto 1700. Herrando’s sonatas have appeared and disappeared intermittently from concert halls, musical editions, and sound recordings, without ever being consolidated in the repertoire, thus justifying new ‘resurrections’ a few years later. This case study shows that the re-premiere is a key element of early-music marketing and that the ‘recuperation’ of forgotten music has to face the pressure of a conservative canon.

Yuni Sufyanti Arief, I Ketut Sudiana, Kristiawati Kristiawati et al.

Introduction: Hospitalization in pediatric patients may caused an anxiety and stress in all age levels. Several techniques can be applied to reduced hospitalization stress in children, such as playing therapy and music therapy. The objective of this study was to analyze the difference of effectiveness between both therapies in reducing the hospitalization stress in 4-6 years old children. Method: A quasy-experimental pre-posttest design was used in this study. There were 18 respondents, divided into three groups, i.e. group one receiving playing therapy, group two receiving music therapy and the last group as control group. Data were collected by using observation sheet before and after intervention to recognize the hospitalization stress. Data were analyzed by using Wilcoxon Signed Rank Test and Mann Whitney U Test with significance level of α<0.05. Result: Result showed that playing therapy and music therapy had significant effect to reduce the hospitalization stress with p=0.027 for play therapy, p=0.024 for musical therapy, and p=0.068 for control. Mann Whitney U Test revealed that there were no difference in the effectiveness of play therapy and musical therapy in reducing the hospitalization stress with p=0.009 for play therapy and control group, p=0.012 for music therapy and control group, and p=0.684 for playing therapy and musical therapy. Discussion: It can be concluded that play therapy and musical therapy are equally effective to reduce the hospitalization stress in children. It’s recommended for nurses in pediatric ward to do  playg therapy and musical therapy periodically.

Keith Negus

M. Roy, I. Peretz, P. Rainville

P. Janata, Scott T. Grafton

W. Drennan, J. Rubinstein