Hasil untuk "Music and books on Music"

Daeun Hwang, Hyeonbin Hwang

There is a wide variety of music similarity detection algorithms, while discussions about music plagiarism in the real world are often based on audience perceptions. Therefore, we aim to conduct a study to examine the key criteria of human perception of music plagiarism, focusing on the three commonly used musical features in similarity analysis: melody, rhythm, and chord progression. After identifying the key features and levels of variation humans use in perceiving musical similarity, we propose a LLM-as-a-judge framework that applies a systematic, step-by-step approach, drawing on modules that extract such high-level attributes.

A. Suprun-Zhyvodrova

У статті проаналізовано особливості часопросторової організації українського аудіовізуального наративу доби Незалежності. Розмежовано поняття «історії» (дієгезису) як послідовності подій і «сюжету» як драматургічної та темпоральної структури твору. Визначено основні часові категорії наративу й класифіковано їх. Розглянуто роль невербальних засобів — монтажу, звуку, кольору — у позначенні часових переходів. Установлено, що для українського аудіовізуального мистецтва характерна лінійна структура з флешбеками, пов’язаними з теперішнім, тоді як пролепсиси трапляються переважно у фантастичних творах. Уперше здійснено системний аналіз часової організації українського аудіовізуального наративу з позицій сучасної наратології, запропоновано типологію часових зсувів і засобів їхнього вираження, що виявляє зв’язок між структурою оповіді та національно-культурними особливостями кінематографу.

Oluseun Sunday Odusanya, Zacchaeus Adelere Adesokan, Damaris T’Oluwalope Aremu et al.

The paper addresses women's participation in church choral ministries, focusing on women as conductors. Despite the growing recognition of women leaders, women's involvement in music ministries is often challenged by gender- and tradition-based barriers. The study examines how women overcome these barriers, shape worship styles, and enrich the church's spiritual and musical life. This study employs a qualitative research method, utilising in-depth interviews with 15 women choral conductors, surveys of 30 church music directors across various denominations, and a critical analysis of historical and contemporary literature. Thematic analysis was used to interpret qualitative data, identifying key themes related to gender dynamics, leadership experiences, and musical influence within church settings. The research is guided by feminist theory, as outlined by Hooks (2000), and ecclesiological theory proposed by Johnson (2015). The paper outlines how women have shaped worship experiences and congregations' spiritual and artistic identity through historical examples, personal narratives, and contemporary practice. By juxtaposing their leadership within the discourses of religion and art, this article pays tribute to women conductors who employ their batons to glorify God and inspire others in the sacred domain of church ministries. The paper concludes that to tap the full potential of women in church music, there needs to be a deconstruction of the gendered barriers that continue to constrain their leadership opportunities. Churches must proactively offer mentorship, professional training, and equal leadership roles for women. Future research should explore the impact of cultural and denominational variations on women's leadership equality in church music, investigate the long-term career trajectories of women conductors, and examine the role of theological education in shaping gender-inclusive music ministries.

Junyan Jiang, Daniel Chin, Liwei Lin et al.

Many music AI models learn a map between music content and human-defined labels. However, many annotations, such as chords, can be naturally expressed within the music modality itself, e.g., as sequences of symbolic notes. This observation enables both understanding tasks (e.g., chord recognition) and conditional generation tasks (e.g., chord-conditioned melody generation) to be unified under a music-for-music sequence modeling paradigm. In this work, we propose parameter-efficient solutions for a variety of symbolic music-for-music tasks. The high-level idea is that (1) we utilize a pretrained Language Model (LM) for both the reference and the target sequence and (2) we link these two LMs via a lightweight adapter. Experiments show that our method achieves superior performance among different tasks such as chord recognition, melody generation, and drum track generation. All demos, code and model weights are publicly available.

Jaza Syed, Ivan Meresman Higgs, Ondřej Cífka et al.

Automatic lyrics transcription (ALT) remains a challenging task in the field of music information retrieval, despite great advances in automatic speech recognition (ASR) brought about by transformer-based architectures in recent years. One of the major challenges in ALT is the high amplitude of interfering audio signals relative to conventional ASR due to musical accompaniment. Recent advances in music source separation have enabled automatic extraction of high-quality separated vocals, which could potentially improve ALT performance. However, the effect of source separation has not been systematically investigated in order to establish best practices for its use. This work examines the impact of source separation on ALT using Whisper, a state-of-the-art open source ASR model. We evaluate Whisper's performance on original audio, separated vocals, and vocal stems across short-form and long-form transcription tasks. For short-form, we suggest a concatenation method that results in a consistent reduction in Word Error Rate (WER). For long-form, we propose an algorithm using source separation as a vocal activity detector to derive segment boundaries, which results in a consistent reduction in WER relative to Whisper's native long-form algorithm. Our approach achieves state-of-the-art results for an open source system on the Jam-ALT long-form ALT benchmark, without any training or fine-tuning. We also publish MUSDB-ALT, the first dataset of long-form lyric transcripts following the Jam-ALT guidelines for which vocal stems are publicly available.

Carey Bunks, Simon Dixon, Bruno Di Giorgi

Jazz improvisation has many similarities to spoken language, and it might be expected that large language models would be effective tools for information retrieval and generative applications applied to it. There are, however, important practical differences. The success of modeling natural language has, in part, been due to the availability of vast corpora of symbolic text. By comparison, collections of transcribed jazz are orders of magnitude smaller. For this reason, neural architectures are unlikely to be as effective for music as they have been for text without the support of additional information. For applications with limited data, various strategies have been shown to be helpful, one of which is the injection of domain knowledge. The objective of this paper is to analyze the relationship between melody and harmony as a method for extracting jazz-specific domain knowledge. To that end, we describe an automated system for identifying and tagging harmonic features of jazz melody, and apply it to a corpus of 325 transcribed, bebop-style solos with over 300,000 notes. A unique aspect of our work is that the tags are based on terminology used by jazz musicians, and this allows us to directly analyze the statistical characteristics of improvisational devices taught by educators and found in instructional books. Our analysis confirms the expressiveness of harmonic tagging, and identifies a convergence of vocabulary used across the thirteen musicians represented in our data. The results show that harmonic tags capture useful domain knowledge and should be beneficial in improving the effectiveness and accuracy of deep learning architectures applied to jazz applications.

Yu-Fen Huang, Nikki Moran, Simon Coleman et al.

In cross-modal music processing, translation between visual, auditory, and semantic content opens up new possibilities as well as challenges. The construction of such a transformative scheme depends upon a benchmark corpus with a comprehensive data infrastructure. In particular, the assembly of a large-scale cross-modal dataset presents major challenges. In this paper, we present the MOSA (Music mOtion with Semantic Annotation) dataset, which contains high quality 3-D motion capture data, aligned audio recordings, and note-by-note semantic annotations of pitch, beat, phrase, dynamic, articulation, and harmony for 742 professional music performances by 23 professional musicians, comprising more than 30 hours and 570 K notes of data. To our knowledge, this is the largest cross-modal music dataset with note-level annotations to date. To demonstrate the usage of the MOSA dataset, we present several innovative cross-modal music information retrieval (MIR) and musical content generation tasks, including the detection of beats, downbeats, phrase, and expressive contents from audio, video and motion data, and the generation of musicians' body motion from given music audio. The dataset and codes are available alongside this publication (https://github.com/yufenhuang/MOSA-Music-mOtion-and-Semantic-Annotation-dataset).

Gabriel Souza, Flavio Figueiredo, Alexei Machado et al.

In recent years, deep learning has achieved formidable results in creative computing. When it comes to music, one viable model for music generation are Transformer based models. However, while transformers models are popular for music generation, they often rely on annotated structural information. In this work, we inquire if the off-the-shelf Music Transformer models perform just as well on structural similarity metrics using only unannotated MIDI information. We show that a slight tweak to the most common representation yields small but significant improvements. We also advocate that searching for better unannotated musical representations is more cost-effective than producing large amounts of curated and annotated data.

Emmanuel Deruty, David Meredith, Stefan Lattner

Much of Western classical music relies on instruments based on acoustic resonance, which produce harmonic or quasi-harmonic sounds. In contrast, since the mid-twentieth century, popular music has increasingly been produced in recording studios, where it is not bound by the constraints of harmonic sounds. In this study, we use modified MPEG-7 features to explore and characterise the evolution of noise and inharmonicity in popular music since 1961. We place this evolution in the context of other broad categories of music, including Western classical piano music, orchestral music, and musique concrète. We introduce new features that distinguish between inharmonicity caused by noise and that resulting from interactions between discrete partials. Our analysis reveals that the history of popular music since 1961 can be divided into three phases. From 1961 to 1972, inharmonicity in popular music, initially only slightly higher than in orchestral music, increased significantly. Between 1972 and 1986, this rise in inharmonicity was accompanied by an increase in noise, but since 1986, both inharmonicity and noise have moderately decreased. In recent years (up to 2020), popular music has remained much more inharmonic than popular music from the 1960s or orchestral music involving acoustic resonance instruments. However, it has become less noisy, with noise levels comparable to those of orchestral music. We relate these trends to the evolution of music production techniques. In particular, the use of multi-tracking may explain the higher inharmonicity in popular music compared to orchestral music. We illustrate these trends with analyses of key artists and tracks.

Vjosa Preniqi, Iacopo Ghinassi, Julia Ive et al.

Moral values play a fundamental role in how we evaluate information, make decisions, and form judgements around important social issues. The possibility to extract morality rapidly from lyrics enables a deeper understanding of our music-listening behaviours. Building on the Moral Foundations Theory (MFT), we tasked a set of transformer-based language models (BERT) fine-tuned on 2,721 synthetic lyrics generated by a large language model (GPT-4) to detect moral values in 200 real music lyrics annotated by two experts.We evaluate their predictive capabilities against a series of baselines including out-of-domain (BERT fine-tuned on MFT-annotated social media texts) and zero-shot (GPT-4) classification. The proposed models yielded the best accuracy across experiments, with an average F1 weighted score of 0.8. This performance is, on average, 5% higher than out-of-domain and zero-shot models. When examining precision in binary classification, the proposed models perform on average 12% higher than the baselines.Our approach contributes to annotation-free and effective lyrics morality learning, and provides useful insights into the knowledge distillation of LLMs regarding moral expression in music, and the potential impact of these technologies on the creative industries and musical culture.

A. Crouch

THE LIFE WE'RE LOOKING FOR: Reclaiming Relationship in a Technological World by Andy Crouch. New York: Convergent Books, 2022. 226 pages, including notes. Hardcover; $25.00. ISBN: 9780593237342. *In The Life We're Looking For, subtitled Reclaiming Relationship in a Technological World, author Andy Crouch examines modern Western life given the ubiquity of and our dependence on technology. This is not a book about technology--you will not learn anything new about the Internet, your cellphone, or AI. Instead, you will be asked to examine life in this modern age rife with loneliness, how we got here, and what we can do about it. *The book is divided into three sections: six chapters identifying the problems of the modern age, a one-chapter "intermission," and five chapters identifying solutions to the problems. The problems of this world can be summarized by the subtitles of the first six chapters: "The Loneliness of a Personalized World," "What We've Forgotten about Being a Person," "How We Trade Personhood for Effortless Power," "The Ancient Roots of Our Tech Obsession," "How Impersonal Power Rules Our World," and "Why the Next Tech Revolution Will Succeed--and Also Fail." *One of Crouch's major themes is that our modern conveniences promise us superpowers. This sounds like a good thing, but in reality it is not. Cars, trains, and planes allow us to move great distances quickly with little effort. Our cell phones give us the ability to translate languages, access vast amounts of information, and communicate almost instantaneously with people around the world. Even our household devices allow us to clean our house without any effort. How these devices work is, for most of us, indistinguishable from magic. Yet, having these abilities leaves us without the need for relationships, and without the need for long-term investment in a project or craft--such as learning a foreign language or learning to play an instrument. We lack the need (and ability?) to love with our full heart, soul, mind, and strength. We are allowed to skim across the surface of life instead of diving deep into it. *Another major theme of the book is Crouch's definition of Mammon. In Matthew 6:24, Jesus says, "You cannot serve both God and Mammon." Crouch expands Mammon from a concept to a being. Mammon is the demonic creature that rules the world. "… What [Mammon] wants, above all, is to separate power from relationship, abundance from dependence, and being from personhood" (p. 76). Mammon and money are closely related, for money makes possible "the ability to get things done, often by means of other persons, without the entanglements of friendship" (p. 72). Crouch then ties in technology: "What technology wants is really what Mammon wants: a world of context-free, responsibility-free, dependence-free power measured out in fungible, storable units of value" (p. 78). *In the "intermission" chapter, Crouch takes us to the table of Gaius, in Corinth, in the second century AD. Around the table are seated wealthy and powerful men, scribes, slaves, and women, and, notably, Paul the apostle. These people share a meal together as equals. They pray and sing together. This is radically counter-cultural. Their actions acknowledge that all people are recognized as persons--image bearers of God. *To solve the problems highlighted in the first part of the book, the author proposes that we need to influence the world, not impact it. "Impact" implies applying a great force for a short period of time. "Influence" implies relationship, patience, and a slower pace. We should seek to use and create technology as an instrument that enhances personhood, does not promise short-term, instant gratification, and elevates and dignifies personhood. *Crouch identifies the promises made by technology: (1) "Now you'll be able to …," and (2) "You'll no longer have to …" (p. 139). He encourages us to think carefully about what these promises are and how true they are. He then identifies the negative consequences of adopting a given technology: (3) "You'll no longer be able to …," and (4) "Now you'll have to …" He then illustrates these promises and consequences with music, available ubiquitously now due to smartphones and the internet, and listened to on earbuds or headphones: (1) Now you'll be able to listen to anything, anywhere. (2) You'll no longer have to listen to others' music in a shared space. (3) You'll no longer be able to make time to practice an instrument so that you can make your own music. (4) Now you'll have to keep upgrading your phone/device/provider so you can get all the best music (p. 140). *To address the epidemic of loneliness, Crouch proposes we should all live in "households". Households are not just families, which may live thousands of miles apart. Households are groups of people sharing life together in community--living, eating, "doing life" together. A household means knowing where each person is and how each person is feeling that day. Crouch goes further, suggesting that we should stop seeking the "blessed" life, which he renames the "charmed" life, free from suffering and burden. Instead, we should include in our communities the "unuseful" person--the person who cannot contribute as much to the financial support of the community, due to age, (dis)ability, or health. To do so will change our hearts from desiring a charmed life to desiring to be a blessing. Moreover, it will radically acknowledge the full personhood of these others. *Andy Crouch gives compelling evidence for what he sees is wrong with life in Western society today. The book is full of wise observations--I have highlighted a sentence or two, if not a full paragraph, on most pages. I found his advice for positively influencing our world to be compelling and practical. His "treatment plan" for addressing loneliness was the most challenging for me. As an introvert, I like and need alone time. I'm not sure I could live under one roof with many other unrelated people. Still, the idea is noble, if perhaps impractical for many people. *I highly recommend this book. It is an easy read, and, more importantly, it will make you think. *Reviewed by Victor Norman, Associate Professor of Computer Science, Calvin University, Grand Rapids, MI 49546.

Frank Heyen, Quynh Quang Ngo, Michael Sedlmair

We propose different methods for alternative representation and visual augmentation of sheet music that help users gain an overview of general structure, repeating patterns, and the similarity of segments. To this end, we explored mapping the overall similarity between sections or bars to colors. For these mappings, we use dimensionality reduction or clustering to assign similar segments to similar colors and vice versa. To provide a better overview, we further designed simplified music notation representations, including hierarchical and compressed encodings. These overviews allow users to display whole pieces more compactly on a single screen without clutter and to find and navigate to distant segments more quickly. Our preliminary evaluation with guitarists and tablature shows that our design supports users in tasks such as analyzing structure, finding repetitions, and determining the similarity of specific segments to others.

Yiwei Ding, Alexander Lerch

Music classification has been one of the most popular tasks in the field of music information retrieval. With the development of deep learning models, the last decade has seen impressive improvements in a wide range of classification tasks. However, the increasing model complexity makes both training and inference computationally expensive. In this paper, we integrate the ideas of transfer learning and feature-based knowledge distillation and systematically investigate using pre-trained audio embeddings as teachers to guide the training of low-complexity student networks. By regularizing the feature space of the student networks with the pre-trained embeddings, the knowledge in the teacher embeddings can be transferred to the students. We use various pre-trained audio embeddings and test the effectiveness of the method on the tasks of musical instrument classification and music auto-tagging. Results show that our method significantly improves the results in comparison to the identical model trained without the teacher's knowledge. This technique can also be combined with classical knowledge distillation approaches to further improve the model's performance.

Tristan Abbey

IN THE SHADOW OF THE PALMS: The Selected Works of David Eugene Smith by Tristan Abbey, ed. Alexandria, VA: Science Venerable Press, 2022. xii + 155 pages, including a Glossary of Biosketches. Paperback; $22.69. ISBN: 9781959976004. *David Eugene Smith (1860-1944) may not be a household name for readers of this journal, but he deserves to be better known. An early-twentieth-century world traveler and antiquarian, his collaboration with publisher and bibliophile George Arthur Plimpton led to establishing the large Plimpton and Smith collections of rare books, manuscripts, letters, and artefacts at Columbia University in 1936. He was one of the founders (1924) and an early president (1927) of the History of Science Society, whose main purpose at the time was supporting George Sarton's ongoing management of the journal ISIS, begun a dozen years earlier. Smith also held several offices in the American Mathematical Society over the span of two decades and was a charter member (1915) and President (1920-1921) of the Mathematical Association of America (MAA). *Smith is best known, however, for his pioneering work in mathematics education, both nationally and internationally. In 1905, he proposed setting up an international commission devoted to mathematics education (now the International Commission on Mathematical Instruction) to explore issues of common concern to mathematics teachers on all levels, worldwide. He was actively involved in reviving this organization after its dissolution during the First World War and served as its President from 1928 to 1932. Nationally, Smith was instrumental in inaugurating the field of mathematics education, advancing this discipline professionally both in his role as mathematics professor at the prestigious Teachers College, Columbia University (1901-1926) and as an author of numerous best-selling mathematics textbooks for elementary and secondary schools. These texts were not focused solely on mathematical content; they also dealt substantively with teaching methodology, applications, rationales for studying the material, and significant historical developments. *Throughout his life Smith championed placing mathematics within the wider liberal arts setting of the humanities, highlighting history, art, and literary connections in his many talks, articles, and textbooks. For him there was no two-cultures divide, as it later came to be known. While acknowledging the value of utilitarian arguments for studying mathematics (he himself published a few textbooks with an applied focus), he considered such a rationale neither sufficient nor central. For him, mathematics was to be studied first of all for its own sake, appreciating its beauty, its reservoir of eternal truths, and its training in close logical reasoning. But again, for him this did not mean adopting a narrow mathematical focus. In particular, given his wide-ranging interest in how mathematics developed in other places and at other times, he tended to incorporate historical narratives in whatever he wrote. *This interest led him later in life to write a popular two-volume History of Mathematics. The first volume (1923) was a chronological survey from around 2200 BC to AD 1850 that focused on the work of key mathematicians in Western and non-Western cultures; the second volume (1925) was organized topically around subjects drawn from the main subfields of elementary mathematics. His History of Mathematics was soon supplemented by a companion Source Book in Mathematics (1929), which contained selected excerpts in translation from mathematical works written between roughly 1475 and 1875. Smith wrote at a time when the history of mathematics was beginning to expand beyond the boundaries of Greek-based Western mathematics to include developments from non-Western cultures (Egyptian, Babylonian, Indian, Chinese, Japanese, and Arabic), a trend he approved of and participated in professionally. *Smith's interest in broader issues extended even to exploring possible linkages between religion and mathematics. His unprecedented parting address to members of the MAA as its outgoing President is titled "Religio Mathematici," a reflection on mathematics and religion that was reproduced a month later as a ten-page article in The American Mathematical Monthly (1921) and subsequently reprinted several times. Smith's article "Mathematics and Religion" appearing in the National Council of Teachers of Mathematics' sixth yearbook Mathematics in Modern Life (1931) touched on similar themes. These two essays maintain that mathematics and religion are both concerned with infinity, with eternal truths, with valid reasoning from assumptions, and with the existence of the imaginary and higher dimensions, "the great beyond," enabling one to draw fairly strong parallels between them. Thus, a deep familiarity with these facets of mathematics may help one to appreciate the essentials of religion. Mathematics itself was thought of in quasi-religious terms, as "the Science Venerable." Smith's farewell address partly inspired Francis Su in his own presidential retirement address to the MAA in 2017 and in its 2020 book-length expansion Mathematics for Human Flourishing (see PSCF 72, no. 3 [2020]: 179-81). Su's appreciation of Smith's ideas also led him to contribute a brief Foreword to the booklet under review, to which we now turn. *First a few publication details: In the Shadow of the Palms is an attractive booklet produced as a labor of love by someone obviously enamored with his subject. Tristan Abbey is a podcaster with broad interests that include being a "math history enthusiast," but whose primary professional experience up to now has been focused on the environmental politics of energy and mineral resources. This work is the initial (and so far the only) offering by a publication company Abbey set up. Its name, Science Venerable Press, was chosen in honor of Smith's designation for mathematics. *One might classify this work non-pejoratively as a coffee-table booklet. It contains 50 excerpts (Su terms them "short meditations") from a wide range of Smith's writings, selected, categorized, and annotated by Abbey, along with full-page reproductions of eight postcards mailed back home by Smith on his world travels, and two photos, including Smith's Columbia-University-commissioned portrait. Smith's excerpted writing occupies only 109 of the total 167 pages, nearly two dozen of which are less than half full. The amply spaced text appears on 3.25 inches of the 7 inch-wide pages, the outer margins being reserved for Abbey's own auxiliary notes explaining references and allusions that appear in the excerpt. This gives the book lots of white space; in fact, eighteen pages of the booklet are completely blank. Another nine pages contain 75 short biographical sketches of mathematicians taken from Smith's historical writings; these are unlinked to any of the excerpts, but they do indicate the breadth of his historical interests. Unfortunately, no index of names or subjects is provided for the reader who wants to learn whether a person or a topic is treated anywhere in the booklet; the best one can do in this regard is consult the titles Abbey assigns the excerpts in the Table of Contents. *The booklet gives a gentle introduction to Smith's views on mathematics, mathematics education, and the history of mathematics. The excerpts chosen are more often literary than discursive. Smith was a good writer, able to keep the reader's attention and convey the sentiments intended, but these excerpts do not develop his ideas in any real length. They portray mathematics in radiant--sometimes fanciful--terms that a person disposed toward the humanities might find attractive but nevertheless judge a bit over-the-top: mathematicians are priests lighting candles in the chapel of Pythagoras; mathematics is "the poetry of the mind"; learning geometry is like climbing a tall mountain to admire the grandeur of the panoramic view; progress in mathematics hangs lanterns of light on major thoroughfares of civilization; and retirement is journeying through the desert to a restful oasis "in the shadow of the palms." Some passages are parables presented to help the reader appreciate what mathematicians accomplished as they overcame great obstacles. *While the excerpts occasionally recognize that mathematics touches everyday needs and is a necessary universal language for commerce and science, without which our world would be unrecognizable, their main emphasis--in line with Smith's fundamental outlook--is on mathematics' ability on its own to deliver joy and inspire admiration of its immortal truths. These are emotions many practicing mathematicians and mathematics educators share; Smith's references to music, art, sculpture, poetry, and religion are calculated to convey to those who are not so engaged, some sense of how thoughtful mathematicians value their field--as a grand enterprise of magnificent intrinsic worth. *In the Shadow of the Palms offers snapshots of the many ideas found in Smith's prolific writings about mathematics, mathematics education, and history of mathematics. It may not attract readers, though, who do not already understand and appreciate Smith's significance for these fields. Abbey himself acknowledges that his booklet "only scratches the surface of [Smith's] contributions" (p. 4). A recent conference devoted to David Eugene Smith and the Historiography of Mathematics (Paris, 2019) is a step toward recognizing Smith's importance, but a comprehensive scholarly treatment of Smith's work within his historical time period remains to be written. *Reviewed by Calvin Jongsma, Professor of Mathematics Emeritus, Dordt University, Sioux Center, IA 51250.

Hawa’ Hidayatul Hikmiyah, N. Arifin

The government's policy in preventing the transmission of COVID-19 has made many people disadvantaged. One of them is the artists, with crowd restrictions, artists cannot perform live performances during the covid-19 pandemic, so it has an impact on the economy of the artist's family. The pandemic has made artists think to introspect creative practices to support their families during the pandemic. Challenges like this make artists innovate to continue to display their creative music, by turning on a virtual stage. This virtual stage can be accessed via zoom, where each participant pays a ticket cheaper than the live show. This study uses a qualitative descriptive research method, with a sampling technique using snowball sampling. The primary data sources used in this study were documentation and direct interviews with artists in Surabaya, Sidoarjo, and Mojokerto. The sample criteria in this study were the community of artists in the field of music and theater in 3 cities, each of which amounted to 2 communities in each city, while secondary data sources were obtained from books and journals. The results showed that the virtual stage could be a solution for the economic recovery of the artist's family. Although the income is not comparable to live performances, but the virtual stage can meet daily needs. The existence of a virtual stage in terms of maqosid sharia, indirectly the artists have taken care of their souls (HifdzNafs) and their family assets (HifdzMaal), are able to stabilize the economic needs of the family and this is one of the efforts to fulfill sharia obligations in the form of HifdzNafs and Hifz Mal.

Emmanouil Karystinaios, Gerhard Widmer

Cadences are complex structures that have been driving music from the beginning of contrapuntal polyphony until today. Detecting such structures is vital for numerous MIR tasks such as musicological analysis, key detection, or music segmentation. However, automatic cadence detection remains challenging mainly because it involves a combination of high-level musical elements like harmony, voice leading, and rhythm. In this work, we present a graph representation of symbolic scores as an intermediate means to solve the cadence detection task. We approach cadence detection as an imbalanced node classification problem using a Graph Convolutional Network. We obtain results that are roughly on par with the state of the art, and we present a model capable of making predictions at multiple levels of granularity, from individual notes to beats, thanks to the fine-grained, note-by-note representation. Moreover, our experiments suggest that graph convolution can learn non-local features that assist in cadence detection, freeing us from the need of having to devise specialized features that encode non-local context. We argue that this general approach to modeling musical scores and classification tasks has a number of potential advantages, beyond the specific recognition task presented here.

Dulcimarta Lemos Lino, Bianca de Oliveira Cardoso

Ao tematizar as práticas criativas na formação de professores, o artigo destaca um aspecto emergente na investigação Educação musical na formação de professores dos cursos de Graduação em Pedagogia gaúchos: escuta e criação na experiência de barulhar (LINO, 2020a). As análises quantitativa e qualitativa da pesquisa de campo constatam o reduzido espaço do ensino de música como disciplina curricular nas instituições de ensino superior gaúchas e a diminuta presença de práticas criativas nos modos do fazer musical docente. O fortalecimento do cenário educativo compreende que o processo de formação de professores em educação musical não se limita apenas ao caráter mandatário de diretrizes curriculares, mas também exige conceber que a música é potência ordinária da vida cotidiana, oferecida e ampliada no exercício coletivo de compor conversações (CAGE, 2015). Ao viver os processos de escuta e criação musical, desde a ludicidade, a experiência de barulhar (LINO, 2008) habita a pedagogia como gesto poético de linguagem para sublinhar a composição da docência. As práticas criativas irrompem na formação de professores para inaugurar sentidos, dar-se a ver o lúdico, o sensível, o singular e a intransponível dimensionalidade humana da música como partição e partilha.

Hao Hao Tan

We present Mirable's submission to the 2021 Emotions and Themes in Music challenge. In this work, we intend to address the question: can we leverage semi-supervised learning techniques on music emotion recognition? With that, we experiment with noisy student training, which has improved model performance in the image classification domain. As the noisy student method requires a strong teacher model, we further delve into the factors including (i) input training length and (ii) complementary music representations to further boost the performance of the teacher model. For (i), we find that models trained with short input length perform better in PR-AUC, whereas those trained with long input length perform better in ROC-AUC. For (ii), we find that using harmonic pitch class profiles (HPCP) consistently improve tagging performance, which suggests that harmonic representation is useful for music emotion tagging. Finally, we find that noisy student method only improves tagging results for the case of long training length. Additionally, we find that ensembling representations trained with different training lengths can improve tagging results significantly, which suggest a possible direction to explore incorporating multiple temporal resolutions in the network architecture for future work.

Özay Önal

In this research, the concept of sound in Turkish has been considered in terms of its occurrences in the fields of music and speech and analyzed in the related metalanguage and daily language. As it is the case for most conceptual field, we have a body of structured knowledge regarding the sound. It is understood from the image schematic, conceptual metaphorical and metonymic patterns found in music and phonology texts that the components of the sound like pitch, amplitude and timbre; and the formations of it like melody, motion, path, interval, chord and scale are understood as abstract concepts that must be embodied as concrete entities by the human mind. Drawing on this, the roles of these patterns in structuring the conceptual content of the sound in Turkish frame the focus of this research. To that end, typical examples have been collected from the metalinguistic usages found in the books of music theory, linguistics, acoustics and music encyclopedias. On the other hand, naïve knowledge models of sound have been observed in daily formulaic language containing idioms and proverbs and also in the web news. Findings show that image schemas, conceptual metaphor and metonymy are highly prevalent in both models of knowledge. In addition, it has been observed that the specific terms found in the metalanguage of music and linguistics actually belong to the vernacular and they have been transferred into the metalanguage through metaphorical mapping. Scientific/expert models, which contain metalanguage rich in field terms and naïve/folk models, which are owned by ordinary people

О. A. Minenko

Досліджено специфіку художньо-естетичного, обрядового та соціального аспектів жіночої зачіски в Егейському світі. Визначено соціальні та інтерпретаційні коди жіночої зачіски мінойської (критська) та мікенської цивілізацій на основі мистецтвознавчого аналізу фресок крито-мікенського мистецтва. Виявлено, що окрім безпосередньо художньо-естетичної функції, зачіски Егейського світу доцільно позиціювати як символ належності до певної вікової (дитина, підліток, молода дівчина, доросла жінка, жінка похилого віку) чи соціальної групи, а також як важливий елемент обрядовості.