Hasil untuk "Music and books on Music"

Livia S. Umeda

At the undergraduate level, music therapy education includes the academic experiences of budding music therapists. By applying the Maslow’s Hierarchy of Needs framework to an educational context, for students to reach self-actualization (i.e., highest degree of self-fulfillment), they must satisfy certain basic needs that all humans require (i.e., physiological needs, safety-security needs, love and belongingness needs, esteem needs, and self-actualization needs). If individuals do not satisfy these needs throughout development, they may regress or become “stuck” at their current tier. Undergraduate students, many of whom are in the developmental stage of emerging adulthood, are at a point of development in which mentorship is still necessary. The purpose of this study was to apply Maslow’s Hierarchy of Needs to an educational setting and provide suggestions which could ameliorate the threats to safety and security currently inherent in music therapy education, and in higher education as a whole. By conducting an in-depth analysis of the threats to “safety-security needs” in Maslow’s Hierarchy of Needs, music therapy instructors may wish to consider the following action steps: (a) prevention of the appropriation of intellectual property; (b) preventative measures against oppression, harassment, and sexual harassment; and (c) reassessment of the current music therapy internship structure. Acknowledgments I would like to thank Dr. Abbey Dvorak for her guidance, support, feedback, and patience with me throughout the authoring of this manuscript. Thank you also to Nathan Mensah, one of my most trusted mentors, for his feedback. Lastly, I send my deepest thanks to Ms. Jennifer Deberg, research librarian at the University of Iowa. This article would not have come to be without her invaluable assistance in combing through the relevant research literature.

Niels Berentsen

Jacob Obrecht’s Missa Scaramella survives as a unicum in two partbooks (altus and bassus) in Kraków’s Biblioteka Jagiellońska. A reconstruction of the mass has recently been published by Fabrice Fitch (in collaboration with Philipp Weller and Paul Kolb). To ‘verify’ the results of that reconstruction, this review will look into claims made about the original notation of the cantus firmus (Scaramella va alla guerra) and compare it with another, independently conceived, reconstruction of the Missa Scaramella by Marc Busnel.

Veronica Flynn, Carmen Rovi

We will discuss how certain group theory structures are found in music theory. Western music splits the octave into 12 equal tones called half-steps. We can take this division further and split the octave into 24 equal tones by splitting each half-step in two, called a quarter-step. By assigning each of these 24 notes a number, we can discuss musical actions mathematically. In this paper, we analyze 24-tone microtonal music and explore how musical and harmonic structures in this system can be interpreted in terms of group-theoretic structures. This work extends the study by Crans, Fiore, and Satyendra.

David Stammer, Hannah Strauss, Peter Knees

The rapid rise of AI-generated art has sparked debate about potential biases in how audiences perceive and evaluate such works. This study investigates how composer information and listener characteristics shape the perception of AI-generated music, adopting a mixed-method approach. Using a diverse set of stimuli across various genres from two AI music models, we examine effects of perceived authorship on liking and emotional responses, and explore how attitudes toward AI, personality traits, and music-related variables influence evaluations. We further assess the influence of perceived humanness and analyze open-ended responses to uncover listener criteria for judging AI-generated music. Attitudes toward AI proved to be the best predictor of both liking and emotional intensity of AI-generated music. This quantitative finding was complemented by qualitative themes from our thematic analysis, which identified ethical, cultural, and contextual considerations as important criteria in listeners' evaluations of AI-generated music. Our results offer a nuanced view of how people experience music created by AI tools and point to key factors and methodological considerations for future research on music perception in human-AI interaction.

Yongyi Zang, Zheqi Dai, Mark D. Plumbley et al.

We introduce Music Source Restoration (MSR), a novel task addressing the gap between idealized source separation and real-world music production. Current Music Source Separation (MSS) approaches assume mixtures are simple sums of sources, ignoring signal degradations employed during music production like equalization, compression, and reverb. MSR models mixtures as degraded sums of individually degraded sources, with the goal of recovering original, undegraded signals. Due to the lack of data for MSR, we present RawStems, a dataset annotation of 578 songs with unprocessed source signals organized into 8 primary and 17 secondary instrument groups, totaling 354.13 hours. To the best of our knowledge, RawStems is the first dataset that contains unprocessed music stems with hierarchical categories. We consider spectral filtering, dynamic range compression, harmonic distortion, reverb and lossy codec as possible degradations, and establish U-Former as a baseline method, demonstrating the feasibility of MSR on our dataset. We release the RawStems dataset annotations, degradation simulation pipeline, training code and pre-trained models to be publicly available.

Faria Binte Kader, Santu Karmaker

Despite significant advancements in music generation systems, the methodologies for evaluating generated music have not progressed as expected due to the complex nature of music, with aspects such as structure, coherence, creativity, and emotional expressiveness. In this paper, we shed light on this research gap, introducing a detailed taxonomy for evaluation metrics for both audio and symbolic music representations. We include a critical review identifying major limitations in current evaluation methodologies which includes poor correlation between objective metrics and human perception, cross-cultural bias, and lack of standardization that hinders cross-model comparisons. Addressing these gaps, we further propose future research directions towards building a comprehensive evaluation framework for music generation evaluation.

Kordula Knaus

As a result of the new aesthetics and compositional techniques of musical modernism around and after 1900, the expectations of a concert and opera audience and the actual musical production of the musical avant-garde increasingly drifted apart. Scandal concerts multiplied and heated debates were carried out in the feuilleton. Musicians reacted to this discourse not only by establishing their own communities of interest and presentation platforms for new music. In addition, there was an increased interest among composers to communicate their music to an audience in such a way that it was understood. Introductory lectures, essays, interviews, program notes, and conversations increasingly accompanied performances or new releases of new music. These composers’ statements have been used by musicological research so far largely as sources of information about the respective works. Hardly has research reflected upon the fact that these utterances are (1) communicative acts that presuppose a real or imagined audience and are (2) embedded in a discursive framework to which they respond directly or indirectly.In the article, I discuss these two aspects using examples from the composer Alban Berg. The first is his Wozzeck lecture, which he held for the first time in 1929 on the occasion of the Oldenburg premiere of the work and repeated several times in the following years at other performance venues. In the lecture, Berg uses more than fifty sound examples on the piano to refer primarily to recurring chords and harmonies. Clearly discernible here is the performative strategy of conveying to the audience a specific sonority of non-tonally bound chordal combinations through concrete, sensual auditory impressions. Berg also emphasizes the compositional regularities in Wozzeck, which can be read as a reaction to the repeated reproach of the press that modern music does not follow any regularities. Similar considerations are present in the radio dialogue “What is atonal?” which was broadcast on Radio Wien on April 23, 1930, as a fictitious dialogue between Berg and the journalist Julius Bistron. A detailed analysis of the dialogue script shows that Bistron acted as a representative of various audience segments throughout the lecture. The last section of the article suggests how theories of communication, media, and performance can be used for the examination of such lectures and dialogues and how this deepens our understanding of these communicative acts within the highly controversial field of new music in the twentieth century.

Clara Fernandes Albuquerque

O trabalho fazia parte do cotidiano de mais da metade das mulheres que viviam no Rio de Janeiro durante o século XIX. Esta pesquisa tem como objetivo principal analisar o impacto da criação das cadeiras de Rudimentos e Canto para o Sexo Feminino e de Canto do Conservatório de Música na formação e profissionalização de mulheres no meio sacro durante os anos de 1853 a 1873, além de compreender especificamente as suas redes de sociabilidades e sua ligação com entidades de classe. Tendo como referenciais Edward Thompson, Claude Dubar e Jean Sirinelli, utilizando como fontes periódicos da Hemeroteca Digital da Biblioteca Nacional, documentos institucionais, registros do site FamilySearch e estudos recentes, conclui-se que esta instituição promoveu formação profissional para mulheres de camadas menos favorecidas, propiciando que atuassem como cantoras em igrejas, ocupassem postos de liderança na Devoção de Santa Cecilia, desenvolvendo uma identidade profissional e pessoal, bem como relações de sociabilidades mediadas por princípios cristãos, obtendo, para além de sua subsistência, visibilidade e ascensão social.

Jingjing Sun, Jingyi Yang, Guyue Zhou et al.

The rapid development of musical AI technologies has expanded the creative potential of various musical activities, ranging from music style transformation to music generation. However, little research has investigated how musical AIs can support music therapists, who urgently need new technology support. This study used a mixed method, including semi-structured interviews and a participatory design approach. By collaborating with music therapists, we explored design opportunities for musical AIs in music therapy. We presented the co-design outcomes involving the integration of musical AIs into a music therapy process, which was developed from a theoretical framework rooted in emotion-focused therapy. After that, we concluded the benefits and concerns surrounding music AIs from the perspective of music therapists. Based on our findings, we discussed the opportunities and design implications for applying musical AIs to music therapy. Our work offers valuable insights for developing human-AI collaborative music systems in therapy involving complex procedures and specific requirements.

Alberto Alcalá-Alvarez, Pablo Padilla-Longoria

In this article, a framework for defining and analysing a family of graphs or networks from symbolic music information is discussed. Such graphs concern different types of elements, such as pitches, chords and rhythms, and the relations among them, and are built from quantitative or categorical data contained in digital music scores. They are helpful in visualizing musical features at once, thus leading to a computational tool for understanding the general structural elements of a music fragment. Data obtained from a digital score undergoes different analytical procedures from graph and network theory, such as computing their centrality measures and entropy, and detecting their communities. We analyze pieces of music coming from different styles, and compare some of our results with conclusions from traditional music analysis techniques.

Souraja Kundu, Saket Singh, Yuji Iwahori

Generating music from images can enhance various applications, including background music for photo slideshows, social media experiences, and video creation. This paper presents an emotion-guided image-to-music generation framework that leverages the Valence-Arousal (VA) emotional space to produce music that aligns with the emotional tone of a given image. Unlike previous models that rely on contrastive learning for emotional consistency, the proposed approach directly integrates a VA loss function to enable accurate emotional alignment. The model employs a CNN-Transformer architecture, featuring pre-trained CNN image feature extractors and three Transformer encoders to capture complex, high-level emotional features from MIDI music. Three Transformer decoders refine these features to generate musically and emotionally consistent MIDI sequences. Experimental results on a newly curated emotionally paired image-MIDI dataset demonstrate the proposed model's superior performance across metrics such as Polyphony Rate, Pitch Entropy, Groove Consistency, and loss convergence.

Dawn C. Rose, Ellen Poliakoff, William R. Young et al.

Background Music has been used in interventions designed for people with Parkinson's (PwP) either to engage mechanisms involved in phenomena such as sensorimotor synchronization or as an integral part of the activity (e.g., dance). However, little research has been conducted concerning what music PwP use in everyday life and how and why this might differ based on situation/context. Methods We used an online survey to investigate what music PwP listen to, for which perceived reasons, and in which situations. In addition to demographic and Parkinson's-specific questions, we included standardized measures of quality of life, music and dance sophistication and bespoke items to explore music use. Results The sample ( N  = 217, age range 20–88 years, Mean  = 65.2, SD  = 8.45) included 109 females (50%); 64% of participants reported a mild impact of Parkinson's on Activities of Daily Living. The top three uses of music were Aesthetic Appreciation (98%), Relaxation (92%), and Motivation (90%). The least popular category was using music for walking (36%). The duration of attentive listening was significantly higher for those who reported using music for managing their feelings than those who did not ( p  < .01). Better quality of life was associated with higher participatory dance experience ( p  < .001). Conclusion PwP listen to a wide range of music genres, most notably for enjoyment but also as a personalized “charge” and “re-charge” resource. Understanding the everyday use of music among PwP might facilitate the development of playlists and interventions to improve daily life for PwP.

Ganghui Ru, Xulong Zhang, Jianzong Wang et al.

Music genre classification has been widely studied in past few years for its various applications in music information retrieval. Previous works tend to perform unsatisfactorily, since those methods only use audio content or jointly use audio content and lyrics content inefficiently. In addition, as genres normally co-occur in a music track, it is desirable to capture and model the genre correlations to improve the performance of multi-label music genre classification. To solve these issues, we present a novel multi-modal method leveraging audio-lyrics contrastive loss and two symmetric cross-modal attention, to align and fuse features from audio and lyrics. Furthermore, based on the nature of the multi-label classification, a genre correlations extraction module is presented to capture and model potential genre correlations. Extensive experiments demonstrate that our proposed method significantly surpasses other multi-label music genre classification methods and achieves state-of-the-art result on Music4All dataset.

Andrew Whelan

John McDonough, Andrzej Herczyński

If our aesthetic preferences are affected by fractal geometry of nature, scaling regularities would be expected to appear in all art forms, including music. While a variety of statistical tools have been proposed to analyze time series in sound, no consensus has as yet emerged regarding the most meaningful measure of complexity in music, or how to discern fractal patterns in compositions in the first place. Here we offer a new approach based on self-similarity of the melodic lines recurring at various temporal scales. In contrast to the statistical analyses advanced in recent literature, the proposed method does not depend on averaging within time-windows and is distinctively local. The corresponding definition of the fractal dimension is based on the temporal scaling hierarchy and depends on the tonal contours of the musical motifs. The new concepts are tested on musical 'renditions' of the Cantor Set and Koch Curve, and then applied to a number of carefully selected masterful compositions spanning five centuries of music making.

John Olugbenga Ajewole

Court music is played in the palace of kings (Oba, Obi, Sarkin, Etsu and Alaafin) in Nigeria. The music consists of both vocal and instrumental repertories. The music forms part of the integrative mechanisms of traditional political system due to its function. The most important thing about court music is the historical nature of the vocal and instrumental repertories. The Alafin of Oyo is the supreme head of all the kings and princes of the Yoruba nation, as he is the direct lineal descendant and successor of the reputed founder of the nation. This study, court music and national development in Nigeria examined the functional role of court music in Oyo community and in the palace of Alaafin Oyo, (Oyo is the name of a tradition popular town in Yoruba land in Nigeria). The study highlights the features of the Yoruba court music and discusses the impact of court music to the people of Oyo as a means of national development in the community. The study made used of oral tradition and written documents in its data collection approach. The outcome of the study reveals the impact and contribution of court music to the development and growth of Oyo community in ceremony communication, education, entertainment, history, politics, and ritual/religion and as a means of national development among Yoruba people of Nigeria. A conclusion is therefore dawn that court music is historical in nature in vocal and instrumental repertories. It communicates the beliefs, custom and values of the Yoruba in various ways. Court music records historical events and transmits social means in the traditional society.

Rodney Simpson Jr.

"The Butterfly Blues” explores a Black queer man’s journey towards owning his identity as a Black queer spiritual man. The piece highlights the detrimental impacts of living within a cis-heteronormative world. The performance traces the complex and weighted navigations of battling oppression, grappling with faith, and accepting self.

Laure Prétet, Gaël Richard, Geoffroy Peeters

Recommending automatically a video given a music or a music given a video has become an important asset for the audiovisual industry - with user-generated or professional content. While both music and video have specific temporal organizations, most current works do not consider those and only focus on globally recommending a media. As a first step toward the improvement of these recommendation systems, we study in this paper the relationship between music and video temporal organization. We do this for the case of official music videos, with a quantitative and a qualitative approach. Our assumption is that the movement in the music are correlated to the ones in the video. To validate this, we first interview a set of internationally recognized music video experts. We then perform a large-scale analysis of official music-video clips (which we manually annotated into video genres) using MIR description tools (downbeats and functional segments estimation) and Computer Vision tools (shot detection). Our study confirms that a "language of music-video clips" exists; i.e. editors favor the co-occurrence of music and video events using strategies such as anticipation. It also highlights that the amount of co-occurrence depends on the music and video genres.

Sangjun Han, Hyeongrae Ihm, Woohyung Lim

Music is a repetition of patterns and rhythms. It can be composed by repeating a certain number of bars in a structured way. In this paper, the objective is to generate a loop of 8 bars that can be used as a building block of music. Even considering musical diversity, we assume that music patterns familiar to humans can be defined in a finite set. With explicit rules to extract loops from music, we found that discrete representations are sufficient to model symbolic music sequences. Among VAE family, musical properties from VQ-VAE are better observed rather than other models. Further, to emphasize musical structure, we have manipulated discrete latent features to be repetitive so that the properties are more strengthened. Quantitative and qualitative experiments are extensively conducted to verify our assumptions.

Tatyana A. Kolysheva, Tatyana I. Blaginina

The article deals with the specificity of professional reflection of the future music teacher in the light of the development of the ideas by E. B. Abdullin. The accumulation of one’s own experience of entering the world of music, the art of teaching, its comprehension and analysis allow a thoughtful student to look at the process of musical education through the eyes of students, their parents, that is, to take the reflective position of a teacher-researcher. The search for ways and means of solving professionally significant tasks requires a music teacher to think reflectively, understand the actions of his students and colleagues, and penetrate their feelings and thoughts. The importance of reflection in solving problem situations, pedagogical tasks, in mastering critical thinking by a future music teacher is substantiated. The conceptual foundations for professional reflection development of a future teacher-musician have been worked out, the structure of reflective analysis and the conditions for the effectiveness of its development by students have been revealed. The techniques and methods of preparing future bachelors and masters of music education for professional reflection in the process of studying at a university, during school practice, in various types of independent, research work of students are considered. The authors have adapted special reflexive techniques (artistic-pedagogical tasks, search games, storytelling, reflective life story, musical reflection, reflective analysis, interviews, pedagogical essays, creative portfolio). The article analyzes the experience of Dutch specialists, the author’s methods of foreign researchers (ALACT – model, “Wall”, “Arrows”, “Visiting card”, a system of reflective questions, etc.). Adapted for use by students in music lessons in the course of pedagogical practice, they become effective means for introspection, self-assessment of the activities of future bachelors / masters of music education. Based on the material of autobiographies and interviews of great musicians-performers, actual problems of music education, ways of spiritually reflexive entry into the world of art and artistic creation are analyzed.