Hasil untuk "Music"

Dan Xu, Siyuan Zhao, Kaiming Li et al.

The micro-Doppler (μD) characteristics of ballistic targets are crucial for estimating motion and structural parameters, as well as for target recognition. However, existing time-frequency (TF) analysis methods are predominantly nonparametric and suffer from limited resolution, making it challenging to accurately extract μD TF curves. This limitation hampers further applications in this domain. Therefore, under narrowband radar observation conditions, this article proposes a method for μD TF characteristics extraction and scatterer type identification, specifically for smooth-surfaced cone-shaped precession targets. The method first utilizes sliding-window Root-MUSIC to extract the instantaneous μD frequencies of the target. Then, the inverse Radon transform (IRT) and You Only Look Once version 5 algorithm are applied to locate and identify the peaks of cone vertex and cone base after IRT. Based on the peaks, the μD TF trend curves can be reconstructed using the Radon transform (RT). The extracted instantaneous μD frequencies are then associated according to the trend curves, enabling the reconstruction of the μD frequencies for the cone vertex and cone base. Experiments validate the effectiveness and noise robustness of the proposed method. The results demonstrate that the estimation accuracy of the proposed method is independent of the sampling interval and significantly outperforms traditional nonparametric methods.

Erika Tavalyová

Based on the analysis of primary sources, the study documents the genesis of teacher education in Trnava, from the establishment of the teacher training in 1857 until 1950, when the teacher training institutes were abolished. It focuses on research into music education and music practice in teacher training institutes. At the same time, it profiles music teachers in these teacher training institutions and their influence on the quality of music education.

Benedikt Zoefel, Rebecca A Gilbert, Matthew H Davis

Auditory rhythms are ubiquitous in music, speech, and other everyday sounds. Yet, it is unclear how perceived rhythms arise from the repeating structure of sounds. For speech, it is unclear whether rhythm is solely derived from acoustic properties (e.g., rapid amplitude changes), or if it is also influenced by the linguistic units (syllables, words, etc.) that listeners extract from intelligible speech. Here, we present three experiments in which participants were asked to detect an irregularity in rhythmically spoken speech sequences. In each experiment, we reduce the number of possible stimulus properties that differ between intelligible and unintelligible speech sounds and show that these acoustically-matched intelligibility conditions nonetheless lead to differences in rhythm perception. In Experiment 1, we replicate a previous study showing that rhythm perception is improved for intelligible (16-channel vocoded) as compared to unintelligible (1-channel vocoded) speech-despite near-identical broadband amplitude modulations. In Experiment 2, we use spectrally-rotated 16-channel speech to show the effect of intelligibility cannot be explained by differences in spectral complexity. In Experiment 3, we compare rhythm perception for sine-wave speech signals when they are heard as non-speech (for naïve listeners), and subsequent to training, when identical sounds are perceived as speech. In all cases, detection of rhythmic regularity is enhanced when participants perceive the stimulus as speech compared to when they do not. Together, these findings demonstrate that intelligibility enhances the perception of timing changes in speech, which is hence linked to processes that extract abstract linguistic units from sound.

Aaron Moorehouse

This commentary presents an experimental-composer’s perspective on contemporary music therapy practice. I begin by offering my impressions of the field, gathered through interviews with practising music therapists, and an examination of the relevant literature. Then, the commentary first draws upon G. Douglas Barrett’s radical post-sonic theorisation of music to question the future of existing music in therapy, before instrumentalising avant-garde aesthetics to imagine what music may become in music therapy. This exploration will pay particular attention to the impacts of the dematerialisation of the art object in contemporary art, and the potential benefits a similar decentering of sound in contemporary music practices may provoke—specifically, the creation of theoretical frameworks that further suppress the authority of canonical forms, and increased contributions from previously-marginalised groups. Next, the commentary presents an analysis of two recent musical compositions that determinedly decenter sound, before examining the appropriateness of this aesthetic to therapeutic contexts. Finally, the commentary signposts a number of historical antecedents that illustrate music therapy’s potential for rigorous (and radical) selfexamination, and examines how these efforts may be expanded.

Vincent Granata

The purpose of this paper is to point out the limits of the resemblance theories in music. These aim to justify we can assign emotions to musical renditions by assuming that they arouse emotions akin to those evoked in humans. A sad piece of music would thus have some kind of property which assimilates them to a person’s sadness. These accounts’ main drawback is that they rely on a vague and flawed notion of similarity. They fail to specify in what way music and emotions could mirror one another. I will point out that this notion of resemblance that relies on an objectivity prerequisite, may not help us to grasp how to ascribe expressive properties to a musical work accurately.

Alejandro Ramos-Amézquita

El 19 de septiembre del 2017 un terremoto sacudió la zona central de México. Sesenta inmuebles se derrumbaron y fallecieron alrededor de doscientas personas. Un grupo de brigadistas conformados por ingenieros de audio y sonidistas, utilizando su equipo de audio, asistieron en las labores de búsqueda de sobrevivientes en los edificios colapsados por el siniestro. En dicho proceso, experimentaron un posible rompimiento epistemológico, al convertir la escucha mediada en un recurso para la acción social. Considerando la utilidad de su equipo en un contexto caótico, extendieron las fronteras de su profesión, el uso de tecnología y la manipulación de su cuerpo y de su escucha para el bien común, reaprendiendo el hábito de escucha. Para presentar el caso, se han revisado los trabajos más propositivos de la tecnología del audio rescate, el marco teórico sociológico de la comunicación acústica y la mediación y transformación del cuerpo a través del uso de tecnología. Para enmarcar dicha transformación de la escucha se incluye el testimonio de la intervención de uno de los miembros de la brigada de los Gorriones Rojos y se hace una revisión de algunos materiales impresos y audiovisuales sobre y de los individuos y organizaciones que surgieron como resultado de estos esfuerzos.

Cedric van Eenoo

A painting, a musical piece, a text and a film have in common an arrangement of distinct elements organized to produce the work and to generate meaning. However, when the focus diverts from what is perceptible in the composition to what is implied, a new dimension can emerge. By concentrating on what is missing, the mind has a different perception of the art. The message is not direct, but suggested, allowing for freedom of interpretation. Utilizing omission rather than addition enables the viewer to recompose the piece and be involved through personal emotions. In this regard, the exploration of the void leans toward inwardness, emphasizing introspection and reflection. A closer look at psychology and its use in the visual arts with the Gestalt theory examines how the human brain tends to close gaps in shapes that are unfinished. This mechanism creates an immersive experience. Additionally, the Japanese concept of Ma utilizes and manipulates the notion of in-between, shifting the center of attention, to enable an intensification of vision. The work can operate on a new level of awareness, where the attributes that are actually absent become quintessential.

Actis-Grosso Rossana, Lega Carlotta, Zani Alessandro et al.

According to both experimental research and common sense, classical music is a better fit for figurative art than jazz. We hypothesize that similar fits may reflect underlying crossmodal structural similarities between music and painting genres. We present two preliminary studies aimed at addressing our hypothesis. Experiment 1 tested the goodness of the fit between two music genres (classical and jazz) and two painting genres (figurative and abstract). Participants were presented with twenty sets of six paintings (three figurative, three abstract) viewed in combination with three sound conditions: 1) silence, 2) classical music, or 3) jazz. While figurative paintings scored higher aesthetic appreciation than abstract ones, a gender effect was also found: the aesthetic appreciation of paintings in male participants was modulated by music genre, whilst music genre did not affect the aesthetic appreciation in female participants. Our results support only in part the notion that classical music enhances the aesthetic appreciation of figurative art. Experiment 2 aimed at testing whether the conceptual categories ‘figurative’ and ‘abstract’ can be extended also to music. In session 1, participants were first asked to classify 30 paintings (10 abstract, 10 figurative, 10 ambiguous that could fit either category) as abstract or figurative and then to rate them for pleasantness; in session 2 participants were asked to classify 40 excerpts of music (20 classical, 20 jazz) as abstract or figurative and to rate them for pleasantness. Paintings which were clearly abstract or figurative were all classified accordingly, while the majority of ambiguous paintings were classified as abstract. Results also show a gender effect for painting’s pleasantness: female participants rated higher ambiguous and abstract paintings. More interestingly, results show an effect of music genre on classification, showing that it is possible to classify music as figurative or abstract, thus supporting the hypothesis of cross-modal similarities between the two sensory-different artistic expressions.

Lumír Škvařil

There is an interesting collection of manuscripts from the parish church of St. James in Brno. This collection covers a continuous period from early years of the church in 13th century up to early modern time. The collection has been preserved relatively untouched up to these days which is important and quite rare fact. Today it contains 127 manuscripts which can be found in the Brno city archive. Naturally, most of them are liturgical books and many also contain musical notation. This paper aims to present those liturgical books of the collection, which are musicologically relevant. There are mainly missals, but also Psalters, breviaries and graduals can be found in the collection. Main expansion of the manuscript collection ended around 1500. By this time new printed books came into use.

Bénédicte Poulin-Charronnat

On the basis of the "zygonic" theory of musical understanding (Ockelford, 2006), Grundy and Ockelford (2014) investigated musical expectations evoked during the course of hearing a piece for the first time in a prodigious musical savant (Derek Paravicini). Overall, the results provided by Derek support the principles of the zygonic theory, especially that the higher the implication factor of a note, the more likely Derek would predict its occurrence. In my commentary, I first raise the question of the use of such individuals as musical savants to generalize findings to the general population, and second I address the issue of the task and the stimuli used.

Xiaogeng Wan, Björn Crüts, Henrik Jeldtoft Jensen

We present an EEG study of two music improvisation experiments. Professional musicians with high level of improvisation skills were asked to perform music either according to notes (composed music) or in improvisation. Each piece of music was performed in two different modes: strict mode and "let-go" mode. Synchronized EEG data was measured from both musicians and listeners. We used one of the most reliable causality measures: conditional Mutual Information from Mixed Embedding (MIME), to analyze directed correlations between different EEG channels, which was combined with network theory to construct both intra-brain and cross-brain networks. Differences were identified in intra-brain neural networks between composed music and improvisation and between strict mode and "let-go" mode. Particular brain regions such as frontal, parietal and temporal regions were found to play a key role in differentiating the brain activities between different playing conditions. By comparing the level of degree centralities in intra-brain neural networks, we found a difference between the response of musicians and the listeners when comparing the different playing conditions.

Aldona ROSNER, Björn SCHULLER, Bożena KOSTEK

This article presents a study on music genre classification based on music separation into harmonic and drum components. For this purpose, audio signal separation is executed to extend the overall vector of parameters by new descriptors extracted from harmonic and/or drum music content. The study is performed using the ISMIS database of music files represented by vectors of parameters containing music features. The Support Vector Machine (SVM) classifier and co-training method adapted for the standard SVM are involved in genre classification. Also, some additional experiments are performed using reduced feature vectors, which improved the overall result. Finally, results and conclusions drawn from the study are presented, and suggestions for further work are outlined.

Thomas Popkewitz

Not-with-standing the current topoi of the Knowledge Society, a particular “fact” of modernity is that power is exercised less through brute force and more through systems of reason that order and classify what is known and acted on.  This article explored the system of reason that orders and classifies what is talked about, thought and act on in schooling.  The study of the system of reason in schooling is framed as social epistemology to consider the historically ordered, relational and socially embeddedness of knowledge as the political.  This entails exploring the “reason” of science and schooling as to change social conditions that changes people. Further the school subjects of mathematics and music education are explored as an alchemy, the use of translation tools that remake disciplinary knowledge into the school curriculum.  The alchemy of the curriculum is paradoxical.  It embodies cultural theses about kinds of people that inscribe differences and divisions in the name of inclusion and equity.

Christina Ranum, Nicolai J. Graakjær

Christina Ranum and Nicolai J. Graakjær Musik til shopper En empirisk undersøgelse af kunders opfattelse af butikmusik. (Music for shoppers An empirical examination of customers' views of music in shops). Increasingly shops need branding. Music can be important in this connection, and earlier research has indicated that music creates atmosphere and meaning, and that music can even influence the consumer's choice of products. However, research has been characterized by a predominantly quantitative, experimental approach, and there are no independent research studies of shop music in a Danish context. In this way the article supplements existing research by its examination of the meaning of shop music in a Danish context using qualitative methods. Referring to a selected shop environment (The Salling department store in Aalborg) it presents, discusses and puts the result of 126 "exit interviews" as well as a more extensive focus group survey into perspective. 

Bogunović Blanka, Dubljević Jelena, Buden Nina

Considering the long-term talent development, from the moment of its recognition to the moment when an adult is confronted with the necessity of integration in the professional music and life streams, we wonder whether education satisfies the needs of talents and provides, in the long run, the necessary knowledge and skills. The aim of this research was to investigate: (1) the initial motivation for learning music and expectations from music education; (2) the course of development of young musicians (the degree of self-actualisation, developmental perspectives, evaluation of music education) and (3) outcomes of music education and development of the professional career. The sample (N=487) consisted of five subsamples: music kindergarten pupils, students of primary music schools, students of secondary music schools, university students of music and teachers at music schools and universities. The paper analyses psychological, educational and professional aspects of education of musically gifted pupils and students, as well as music teachers in five successive age groups. The results indicate that with an increase in age there is a considerable increase in the variety and scope of expectations and a higher aspiration towards personal, educational and professional lifelong improvement, while, at the same time, there is a considerable decrease in the level of fulfilment of expectations and the level of assessment of self-actualisation. This is indicative of a continuously present feeling of “hidden underachievement” in the group of (relatively) successful young musicians and professionals. Analysis of respondents’ answers points out to the existence of still traditional system of music education, which lacks flexibility and innovation and fails to provide a sufficient level of transferable knowledge and skills. The findings point out to a whole cluster of controversies demanding further reconsideration and (re)designing of the curriculum of (high) music education. [Projekat Ministarstva nauke Republike Srbije, br. 179018: Identifikacija, merenje i razvoj kognitivnih i emocionalnih kompetencija važnih društvu orijentisanom na evropske integracije i br. 179034: Od inicijative, saradnje i stvaralaštva u obrazovanju do novih uloga i identiteta u društvu]

Peter E. Keller

Jinah Kim

Therapy often involves the development of an intimate therapeutic relationship between the client and the therapist. By introducing the story of Hyun in music therapy, I invite readers to discover what happens during mutual music making process and what it means to the child and the therapist. I also situate this story within a triadic relationship – the child, the therapist and the family (especially the mother) so that one can see a comprehensive picture of how the happenings of music therapy relate to immediate outside world of music therapy, and vice versa. More importantly, I try to show the inner workings of the therapist and her wonderings in response to the client in order to clarify the core aspects of therapeutic process.

Julia Gillen, Susan Young

The tradition of developmental psychology as been of fundamental importance in providing versions of musical childhoods, particularly for the earliest years of childhood. However, in its focus on the individual child and in its search for musical behaviors assumed to be common across all children, developmental psychology has tended to be insufficiently interested in wider cultural processes. At the same time, the disciplines of ethnomusicology, the sociology of music, and popular music and media studies, valuable as they are in describing and theorizing the nature of sociocultural practices in music, have nothing to contribute to our understanding of musical practices in young children’s lives. We suggest, then, that the integration of interdisciplinary accounts of young children’s musical experiences is essential if we are to acquire fuller understandings of their musicality, the diversity o their musical practices, and how they develop musically within heterogeneous contexts.

Goto Masataka, Tzanetakis George, Fujinaga Ichiro

Hassan Jouad

Le malhûn est le nom donné à une tradition de littérature chantée composée en arabe dialectal, apparue au Maroc au début du XV e siècle, qui s'est développé dans le milieu populaire et exclusivement masculin des corporations de métiers snayeiyya ou l-hrayfiyya. Destinées à un public illettré, le malhûn consiste dans un immense répertoire de textes versifiées très fortement structurés, composés oralement et conçus pour être écoutés (et non pour être lues). La création et sa transmission des oeuvres sont organisées en fonction de cet impératif, avec le concours de trois acteurs ayant chacun un rôle bien défini : - un «versifieur» na 'dhem, dit aussi «maître de l'inspiration». - un 'transmetteur' rawi ; dit également haffedh 'conservateur' ou 'mémorisateur'. - un chanteur dit cheikh, quelque chose comme «maître de l'émotion». Le premier compose, le second recueille les oeuvres du premier en les apprenant par coeur et les transmet de même au troisième qui les diffuse. Ce dernier est placé à la tête d'une formation de musiciens professionnels. Cette organisation n'a jamais varié depuis les origines malgré le recours des professionnels aux moyens modernes de diffusion, désormais rentré dans les mœurs.