Abstract: Many of the interrogations or dilemmas of the contemporary world found the answer in what was generically called the appeal to matrix. This genuine spiritual exercise of re-connection of the present to origins, to the primary source, revealed the ontological condition of timelessness, ahistorical, immutable (epi)phenomena, of those pure essences concentrated in the archetypal-referential layer of the human existence. The musical creation was no exception to this trend, the impasse generated by the deterministic excesses of the whole serialism or, conversely, by some questionable results of the extreme indeterminism proper to the avant-garde movements, stimulating the orientation of many composers to rediscover a universal grammar, as an emanation of a new ‘collective’ order (reverse of the utopian individualism). In this context, the music of oral tradition and therefore the world of the ancient modes represented a true revelation for the composers of the twentieth century, who were suddenly in front of some unsuspected (re)sources, with a major impact on all levels of edification of the musical work: morphology, syntax, timbrality, semantics etc. For the contemporary Romanian creators, the music of rituals, existing in the local archaic culture, opened unsuspected perspectives for which it meant to be a synthetic, inclusive and recoverer vision, where the primary (archetypal) genuine elements merge with the latest achievements of language of the European composers. Thus, anchored in a strong and genuine modal source, the compositions analysed in this paper evoke, in a manner as modern as possible, the atmosphere of some ancestral rituals such as: the invocation of rain during the drought (Paparudele, Scaloianul), funeral ceremony (Bocetul), traditions specific to the winter holidays and new year (Colinda, Cântecul de stea, Sorcova, Folklore traditional dances) etc. The reactivity of those rituals in the sound context of the twentieth century meant potentiating or resizing the archaic spirit of the primordial symbolic entities, in terms of some complexity levels generated by the technique of harmonies of chordal layers, of complex aggregates (gravitational or non-gravitational, geometric), of the mixture polyphonies and with global effect (group, mass), by the technique of heterophony, of texture and cluster, leading to the implementation of some processes of collective improvisation and instrumental theatre.
Abstract: One of the most powerful language innovation in the twentieth century music was the heterophony–hypostasis of the vertical syntax entered into the sphere of interest of many composers, such as George Enescu, Pierre Boulez, Mauricio Kagel, György Ligeti and others. The heterophonic syntax has a history of its growth, which means a succession of different concepts and writing techniques. The trajectory of settling this phenomenon does not necessarily take into account the chronology: there are highly complex primary stages and advanced stages of returning to the simple forms of writing. In folklore, the plurimelodic simultaneities are free or random and originate from the (unintentional) differences/‘deviations’ from the state of unison, through a variety of ornaments, melismas, imitations, elongations and abbreviations, all in a flexible rhythmic and non-periodic/immeasurable framework, proper to the parlando-rubato rhythmics. Within the general framework of the multivocal organization, the heterophonic syntax in elaborate (academic) version has imposed itself relatively late compared with polyphony and homophony. Of course, the explanation is simple, if we consider the causal relationship between the sound vocabulary elements – in this case, the modalism – and the typologies of vertical organization appropriate for it. Therefore, adding up the ‘classic’ pathway of the writing typologies (monody – polyphony – homophony), heterophony - applied equally to the structures of modal, serial or synthesis vocabulary – reclaims necessarily an own macrotemporal form, in the sense of the analogies enshrined by the evolution of the musical styles and languages: polyphony→fugue, homophony→sonata. Concerned about the prospect of edifying a new musical ontology, the composer Ştefan Niculescu experienced – along with the mathematical organization of heterophony according to his own original methods – the possibility of extrapolation of this phenomenon in macrostructural plan, reaching this way to the unique form of ‘synchrony’. Founded on coincidentia oppositorum principle (involving the ‘one-multiple’ binom), the sound architecture imagined by Ştefan Niculescu consists in one (temporal) model / algorithm of articulation of two sound states: 1. monovocality state (principle of identity) and 2. multivocality state (principle of difference). In this context, the heterophony becomes an (auto)generative mechanism, with macrotemporal amplitude, strategy that will be grown by the composer, practically throughout his creation (see the works: Ison I, Ison II, Unisonos I, Unisonos II, Duplum, Triplum, Psalmus, Héterophonies pour Montreux (Homages to Enescu and Bartók etc.). For the present demonstration, we selected one of the most edifying works of Ştefan Niculescu – Simphony II, Opus dacicum – where the form of (heterophony-)synchrony acquires monumental-symphonic features, representing an emblematic case for the complexity level achieved by this type of vertical syntax in the twentieth century music.
Abstract: This paper presents a method for identification
of a linear time invariant (LTI) autonomous all pole system
using singular value decomposition. The novelty of this paper
is two fold: First, MUSIC algorithm for estimating complex
frequencies from real measurements is proposed. Secondly,
using the proposed algorithm, we can identify the coefficients
of differential equation that determines the LTI system by
switching off our input signal. For this purpose, we need only
to switch off the input, apply our complex MUSIC algorithm
and determine the coefficients as symmetric polynomials in the
complex frequencies. This method can be applied to unstable
system and has higher resolution as compared to time series
solution when, noisy data are used. The classical performance
bound, Cramer Rao bound (CRB), has been used as a basis for
performance comparison of the proposed method for multiple
poles estimation in noisy exponential signal.
Abstract: Art education is often ignored in syllabus of developing countries like India and in educational planning for development but now days Indian Art with a global recognition is becoming an integral part of the education at all levels. The term art, widely used in all parts of the modern world, carried varied significance in India as its meaning was continuously being extended, covering the many varieties of creative expression such as painting, sculpture, commercial art, design, poetry, music, dance, and architecture. Over the last 100 years Indian artists of all forms have evolved a wide variety of expressive styles. With the recommendations and initiatives by Government of India, Art Education has subsequently gained pace at the school level as a mandatory subject for all making a path way for students with a creative bend of mind. This paper investigates curriculum in various schools of the country at secondary and senior secondary levels along with some eminent institutions running the program. Findings depicted the role of art education and justified its importance primarily with commercial art being perceived to be essential for students learning skills for economic gain in their career ahead. With so many art colleges spread across India, emerging artists and designers are being trained and are creating art of infinite variety and style and have opened up many career avenues. Commercial Art being a plethora of artistic expressions has confidently come of age wherein a creative perception is mixed with an introspective imagination to bring out multi faceted career options with a significant future enveloped in art. Visual arts in education thus is an expanding field of result assured research.
Abstract: In this paper, we present a wavelet coefficients masking
based on Local Binary Patterns (WLBP) approach to enhance the
temporal spectra of the wavelet coefficients for speech enhancement.
This technique exploits the wavelet denoising scheme, which splits
the degraded speech into pyramidal subband components and extracts
frequency information without losing temporal information. Speech
enhancement in each high-frequency subband is performed by binary
labels through the local binary pattern masking that encodes the ratio
between the original value of each coefficient and the values of the
neighbour coefficients. This approach enhances the high-frequency
spectra of the wavelet transform instead of eliminating them through
a threshold. A comparative analysis is carried out with conventional
speech enhancement algorithms, demonstrating that the proposed
technique achieves significant improvements in terms of PESQ, an
international recommendation of objective measure for estimating
subjective speech quality. Informal listening tests also show that
the proposed method in an acoustic context improves the quality
of speech, avoiding the annoying musical noise present in other
speech enhancement techniques. Experimental results obtained with a
DNN based speech recognizer in noisy environments corroborate the
superiority of the proposed scheme in the robust speech recognition
scenario.
Abstract: Nowadays, due to diverse electric products and complex electromagnetic environment, the localization and troubleshooting of the electromagnetic radiation source is urgent and necessary especially on the condition of far field. However, based on the existing DOA positioning method, the system or devices are complex, bulky and expensive. To address this issue, this paper proposes a single antenna radiation source localization method. A single antenna moves to form a virtual antenna array combined with DOA and MUSIC algorithm to position accurately, meanwhile reducing the cost and simplify the equipment. As shown in the results of simulations and experiments, the virtual antenna array DOA estimation modeling is correct and its positioning is credible.
Abstract: A Non-Contact Digital Music System has been conceptualized and implemented to create a new era of digital music. This system replaces the strings of a traditional stringed instrument with laser beams to avoid bruising of the user’s hand. The system consists of seven laser modules, detector modules and distance sensors that form the basic hardware blocks of this instrument. Arduino ATmega2560 microcontroller is used as the primary interface between the hardware and the software. MIDI (Musical Instrument Digital Interface) is used as the protocol to establish communication between the instrument and the virtual synthesizer software.
Abstract: From a theoretical perspective, expertise is generally considered a precondition for creativity. The assumption is that an individual needs to master the common and accepted rules and techniques within a certain knowledge-domain in order to create something new and valuable. However, real life cases, and a limited amount of empirical studies, demonstrate that this assumption may be overly simple. In this article, this question is explored through a number of semi-experimental case studies conducted within the fields of music, technology, and youth culture. The studies indicate that, in various ways, expertise plays an important part in creative processes. However, the case studies also indicate that expertise sometimes leads to an entrenched perspective, in the sense that knowledge and experience may work as a path into the well-known rather than into the unknown. In this article, these issues are explored with reference to different theoretical approaches to creativity and learning, including actor-network theory, the theory of blind variation and selective retention, and Csikszentmihalyi’s system model. Finally, some educational aspects and implications of this are discussed.
Abstract: An EFL teacher education programme in Chile takes five years to train a future teacher of English. Preservice teachers are prepared to learn an advanced level of English and teach the language from 5th to 12th grade in the Chilean educational system. In the context of their first EFL Methodology course in year four, preservice teachers have to create a five-minute digital story that starts from a critical incident they have experienced as teachers-to-be during their observations or interventions in the schools. A critical incident can be defined as a happening, a specific incident or event either observed by them or involving them. The happening sparks their thinking and may make them subsequently think differently about the particular event. When they create their digital stories, preservice teachers put technology, teaching practice and theory together to narrate a story that is complemented by still images, moving images, text, sound effects and music. The story should be told as a personal narrative, which explains the critical incident. This presentation will focus on the creation process of 50 Chilean preservice teachers’ digital stories highlighting the critical incidents they started their stories. It will also unpack preservice teachers’ beliefs and reflections when approaching their teaching practices in schools. These beliefs will be coded and categorized through content analysis to evidence preservice teachers’ most rooted conceptions about English teaching and learning in Chilean schools. The findings seem to indicate that preservice teachers’ beliefs are strongly mediated by contextual and affective factors.
Abstract: Choosing good features is an essential part of machine learning. Recent techniques aim to automate this process. For instance, feature learning intends to learn the transformation of raw data into a useful representation to machine learning tasks. In automatic audio classification tasks, this is interesting since the audio, usually complex information, needs to be transformed into a computationally convenient input to process. Another technique tries to generate features by searching a feature space. Genetic algorithms, for instance, have being used to generate audio features by combining or modifying them. We find this approach particularly interesting and, despite the undeniable advances of feature learning approaches, we wanted to take a step forward in the use of genetic algorithms to find audio features, combining them with more conventional methods, like PCA, and inserting search control mechanisms, such as constraints over a confusion matrix. This work presents the results obtained on particular audio classification problems.
Abstract: Absolute pitch is the ability to identify a musical note without a reference tone. Training for absolute pitch often occurs in preschool education. It is necessary to clarify how well the trainee can make use of synesthesia in order to evaluate the effect of the training. To the best of our knowledge, there are no existing methods for objectively confirming whether the subject is using synesthesia. Therefore, in this study, we present a method to distinguish the use of color-auditory synesthesia from the separate use of color and audition during absolute pitch training. This method measures blood volume in the prefrontal cortex using functional Near-infrared spectroscopy (fNIRS) and assumes that the cognitive step has two parts, a non-linear step and a linear step. For the linear step, we assume a second order ordinary differential equation. For the non-linear part, it is extremely difficult, if not impossible, to create an inverse filter of such a complex system as the brain. Therefore, we apply a method based on a self-organizing map (SOM) and are guided by the available data. The presented method was tested using 15 subjects, and the estimation accuracy is reported.
Abstract: Music education aims to bring up individuals most appropriately and to advanced levels as a balanced whole physically, cognitively, affectively, and kinesthetically while making a major contribution to the physical and spiritual development of the individual. The most crucial aim of music education, an influential education medium per se, is to make music be loved; yet, among its educational aims are concepts such as affinity, friendship, goodness, philanthropy, responsibility, and respect all extremely crucial bringing up individuals as a balanced whole. One of the most essential assets of the music education is the training of making music together, solidifying musical knowledge and enabling the acquisition of cooperation. This habit requires internalization of values like responsibility, patience, cooperativeness, respect, self-control, friendship, and fairness. If musicians lack these values, the ensemble will become after some certain time a cacophony. In this qualitative research, the attitudes of music teacher candidates in orchestra/chamber music classes will be examined in terms of values.
Abstract: Music has always been an integral part of human’s daily lives. But, for the most people, reading musical score and turning it into melody is not easy. This study aims to develop an Automatic music score recognition system using digital image processing, which can be used to read and analyze musical score images automatically. The technical approaches included: (1) staff region segmentation; (2) image preprocessing; (3) note recognition; and (4) accidental and rest recognition. Digital image processing techniques (e.g., horizontal /vertical projections, connected component labeling, morphological processing, template matching, etc.) were applied according to musical notes, accidents, and rests in staff notations. Preliminary results showed that our system could achieve detection and recognition rates of 96.3% and 91.7%, respectively. In conclusion, we presented an effective automated musical score recognition system that could be integrated in a system with a media player to play music/songs given input images of musical score. Ultimately, this system could also be incorporated in applications for mobile devices as a learning tool, such that a music player could learn to play music/songs.
Abstract: The subject of this abstract is related to the notion of 'popular music', a notion that should be treated with extreme care, particularly when applied to Frederic Chopin, one of the greatest composers of Romanticism. By ‘popular music’, we mean a category of everyday music, set against the more intellectual kind, referred to as ‘classical’. We only need to look back to the culture of the nineteenth century to realize that this ‘popular music’ refers to the ‘music of the low’. It can be studied from a sociological viewpoint, or as sociological aesthetics. However, we cannot ignore the fact that, very quickly, this music spread to the wealthiest strata of the European society of the nineteenth century, while likewise the lowest classes often listen to the intellectual classical music, so pleasant to listen to. Further, we can observe that a sort of ‘sacralisation of kitsch’ occurs at the intersection between the classical and popular music. This process is the topic of this contribution. We will start by investigating the notion of kitsch through the study of Chopin’s popular compositions. However, before considering the popularisation of this music in today’s culture, we will have to focus on the use of the word kitsch in Chopin’s times, through his own musical aesthetics. Finally, the objective here will be to negate the theory that art is simply the intellectual definition of aesthetics. A kitsch can, obviously, only work on the emotivity of the masses, as it represents one of the features of culture-language (the words which the masses identify with). All art is transformed, becoming something outdated or even outmoded. Here, we are truly within a process of mythologization of art, through the study of the aesthetic reception of the musical work.
Abstract: Recommender systems, also known as recommender engines, have become an important research area and are now being applied in various fields. In addition, the techniques behind the recommender systems have been improved over the time. In general, such systems help users to find their required products or services (e.g. books, music) through analyzing and aggregating other users’ activities and behavior, mainly in form of reviews, and making the best recommendations. The recommendations can facilitate user’s decision making process. Despite the wide literature on the topic, using multiple data sources of different types as the input has not been widely studied. Recommender systems can benefit from the high availability of digital data to collect the input data of different types which implicitly or explicitly help the system to improve its accuracy. Moreover, most of the existing research in this area is based on single rating measures in which a single rating is used to link users to items. This paper proposes a highly accurate hotel recommender system, implemented in various layers. Using multi-aspect rating system and benefitting from large-scale data of different types, the recommender system suggests hotels that are personalized and tailored for the given user. The system employs natural language processing and topic modelling techniques to assess the sentiment of the users’ reviews and extract implicit features. The entire recommender engine contains multiple sub-systems, namely users clustering, matrix factorization module, and hybrid recommender system. Each sub-system contributes to the final composite set of recommendations through covering a specific aspect of the problem. The accuracy of the proposed recommender system has been tested intensively where the results confirm the high performance of the system.
Abstract: Younger and younger children are now using a smartphone, a device which has become ‘a must have’ and the life of children would be almost ‘unthinkable’ without one. Devices are becoming lighter and lighter but offering an array of options and applications as well as the unavoidable access to the Internet, without which it would be almost unusable. Numerous features such as taking of photographs, listening to music, information search on the Internet, access to social networks, usage of some of the chatting and messaging services, are only some of the numerous features offered by ‘smart’ devices. They have replaced the alarm clock, home phone, camera, tablet and other devices. Their use and possession have become a part of the everyday image of young people. Apart from the positive aspects, the use of smartphones has also some downsides. For instance, free time was usually spent in nature, playing, doing sports or other activities enabling children an adequate psychophysiological growth and development. The greater usage of smartphones during classes to check statuses on social networks, message your friends, play online games, are just some of the possible negative aspects of their application. Considering that the age of the population using smartphones is decreasing and that smartphones are no longer ‘foreign’ to children of pre-school age (smartphones are used at home or in coffee shops or shopping centers while waiting for their parents, playing video games often inappropriate to their age), particular attention must be paid to a very sensitive group, the teenagers who almost never separate from their ‘pets’. This paper is divided into two sections, theoretical and empirical ones. The theoretical section gives an overview of the pros and cons of the usage of smartphones, while the empirical section presents the results of a research conducted in three elementary schools regarding the usage of smartphones and, specifically, their usage during classes, during breaks and to search information on the Internet, check status updates and 'likes’ on the Facebook social network.
Abstract: Aerobic dance has becoming a popular mode of
exercise especially among women due to its fun nature. With a catchy
music background and joyful dance steps, aerobic dancers would be
able to have fun while sweating out. Depending on its level of
aggressiveness, aerobic may also improve and maintain
cardiorespiratory fitness other than being a great tool for weight loss.
This study intends to prove that aerobic dance activity can bring the
same, if not better impacts on health than other types of
cardiovascular exercise such as jogging and cycling. The objective of
this study was to evaluate and identify the effect of six weeks aerobic
dance on cardiovascular fitness and weight loss among women. This
study, which was held in Seremban Fit Challenge, used a quasiexperimental
design. The subjects selected include a total of 14
women (n = 14) with age (32.4 years old ± 9.1), weight (65.93 kg ±
11.24) and height (165.36 ± 3.46) who joined the Seremban Fit
Challenge Season 13. The subjects were asked to join an aerobic
dance class with a duration of one hour for six weeks in a row. As for
the outcome, cardiovascular fitness was measured with a 1-mile run
test while any changes on weight were measured using the weighing
scale. The result showed that there was a significant difference
between pre and post-test for cardiovascular fitness when p = 0.02
Abstract: This paper discusses the thematic structure of Yoruba
popular music of Southwest Nigeria. It examines the use of themes
and variations in early and contemporary Juju music. The work is an
outcome of a research developed by the author in his doctoral studies
at the University of Lagos, Nigeria, with the aim of analyzing the
thematic and motivic developments in Yoruba popular genres.
Observations, interviews, live recordings and CDs were used as
methods for eliciting information. Field recordings and CDs of
selected musical samples were also transcribed and notated. The
research established the prevalent use of string of themes by Juju
musicians as a compositional technique in moving from one musical
section to another, as they communicate the verbal messages in their
song. These themes consist of the popular ‘call and response’ form
found in most African music, analogous to the western ‘subject and
answer’ style of the fugue or sonata form, although without the tonic–
dominant relations. Due to the short and repetitive form of African
melodies and rhythms, a theme is restated as a variation, where its
rhythmic and melodic motifs are stylistically developed and repeated,
but still retaining its recognizable core musical structure. The
findings of this study showed that Juju musicians generally often
employ a thematic plan where new themes are used to arrange the
songs into sections, and each theme is developed into variations in
order to further expand the music, eliminate monotony, and create
musical aesthetics, serving as hallmark of its musical identity. The
study established the musical and extra-musical attributes of the
genre, while recommending further research towards analyzing the
various compositional techniques employed in African popular
genres.
Abstract: This investigation is focused on using of Mon dance
in Pathum Thani Province’s tradition and has the following
objectives: 1) to study the background of Mon dance in Pathum
Thani Province; 2) to study Mon dance in Pathum Thani Province;
and 3) to study of using Mon dance in Pathum Thani province’s
tradition. This qualitative research was conducted in Pathum Thani
province (in the central of Thailand). Data was collected from
documentary study and field data by means of observation, interview,
and group discussion. Workshops were also held with a total of 100
attendees, comprised of 20 key informants, 40 casual informants and
40 general informants. Data was validated using the triangulation
technique and the findings are presented using the descriptive
analysis. The results of the study show that the historical background
of Mon dance in Pathum Thani Province initiated during the war
evacuation from Martaban (south of Burma) to settle down in Sam
Khok, Pathum Thani Province in Ayutthaya period to Rattanakosin.
The study found that Mon dance typically consists of 12-13 dancing
process. The melodies have 12-13 songs. Piphat Mon (Mon
traditional music ensemble) is used in the performance. Performers
are dressed in Mon traditional costumes. The performers are 6-12
women and depending on the employer’s demands. Length of the
performance varies from the duration of music orchestration. Rituals
and customs performed are paying homage to teachers before the
performance. The offerings are composed of flowers, incense sticks,
candles, money gifts which are well arranged on a tray with pedestal,
and also liquors, tobaccos and pure water for asking propitiousness.
For the use of Mon dance in Pathum Thani Province’s tradition, it is
found that the dance is commonly performed in the funeral
ceremonial tradition at present because the physical postures of the
performance are considered graceful and exquisite. In addition, as for
its value, it has long been believed since the ancient times that Mon
dance was a sacred thing considered as the dignity and glorification
especially for funeral ceremonies of priest or royal hierarchy classes.
However, Mon dance has continued to be used in the traditions
associated with Mon people activities in Pathum Thani Province for
instance customary welcome for honor guest and Songkran festival.
Abstract: The traditional rhythms of the West African country
of Guinea have played a centuries-long role in defining the different
people groups that make up the country. Throughout their history,
before and since colonization by the French, the different ethnicities
have used their traditional music as a distinct part of their historical
identities. That is starting to change. Guinea is an impoverished
nation created in the early twentieth-century with little regard for the
history and cultures of the people who were included. The traditional
rhythms of the different people groups and their heritages have
remained. Fifteen individual traditional Guinean rhythms were
chosen to represent popular rhythms from the four geographical
regions of Guinea. Each rhythm was traced back to its native village
and video recorded on-site by as many different local performing
groups as could be located. The cyclical patterns rhythms were
transcribed via a circular, spatial design and then copied into a box
notation system where sounds happening at the same time could be
studied. These rhythms were analyzed for their consistency-overperformance
in a Fundamental Rhythm Pattern analysis so rhythms
could be compared for how they are changing through different
performances. The analysis showed that the traditional rhythm
performances of the Middle and Forest Guinea regions were the most
cohesive and showed the least evidence of change between
performances. The role of music in each of these regions is both
limited and focused. The Coastal and High Guinea regions have
much in common historically through their ethnic history and
modern-day trade connections, but the rhythm performances seem to
be less consistent and demonstrate more changes in how they are
performed today. In each of these regions the role and usage of music
is much freer and wide-spread. In spite of advances being made as a
country, different ethnic groups still frequently only respond and
participate (dance and sing) to the music of their native ethnicity.
There is some evidence that this self-imposed musical barrier is
beginning to change and evolve, partially through the development of
better roads, more access to electricity and technology, the nationwide
Ebola health crisis, and a growing self-identification as a
unified nation.