Abstract: The Nigerian hip-hop music genre, like the African American scene where it was adopted from, is riddled with musical lyrics that amplify and normalize hypermasculinity, homophobia, sexism, and objectification of women. Several factors are responsible for this anomaly; however, the greatest factor is the urge of hip-hop musicians to achieve the commercial success that is dependent on selling records and appealing to the established societal accepted norm for hip-hop music. Consequently, this paper presents a counter-narrative of this gender representation within the Nigerian hip-hop industry. This study analyzed the musical lyrics of the ‘Hypocrisy’ track on the 2019 album of famous Nigerian rapper, Falz the Bahd Guy; and argued that Falz in this album challenged the predominant ideas of hegemonic masculinity by singing in favor of LGBT people and women. Also, based on the success of this album, this paper argues that a hip-hop album can achieve commercial success without aligning with predominant hip-hop parameters of gender representation. The study recommends that future studies should evaluate the reactions of Nigerians to these gender presentations by Falz the Bahd guy.
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: 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: 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: 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: 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 paper proposes that in the course of evolution
pitch structure became a human specific tool of communication the
function of which is to induce emotional states such as uncertainty
and cohesion. By the means of eliciting these emotions during
collective music performance people are able to unconsciously give
cues concerning social acceptance. This is probably one of the
reasons why in all cultures people collectively perform tonal music. It
is also suggested that tonal pitch structure had been invented socially
before it became an evolutionary innovation of hominines. It means
that a predisposition to tonally organize pitches evolved by the means
of ‘Baldwin effect’ – a process in which natural selection transforms
the learned response of an organism into the instinctive response. In
the proposed, hypothetical evolutionary scenario of the emergence of
tonal pitch structure social forces such as a need for closer
cooperation play the crucial role.
Abstract: Taiwanese composer Kuo Chih-Yuan (1921-2013)
studied composition at Tokyo University of the Arts and was
influenced by the musical nationalism prevailing in Japan at the time.
Determined to create world-class contemporary works to represent
Taiwan, he created music with elements of traditional Taiwanese
music in ways that had not been done before. The aims of this study
were to examine the traditional elements used in Kuo Chih-Yuan’s
Variations and Fugue on an Ancient Taiwanese Music (1972), and
how an understanding of these elements might guide pianists to
interpret a more proper performance of his work was also presented
in this study.
Abstract: The present study aimed to investigate the effect of
synchronous music in Gymnastics' motor skill performance among
undergraduate female students in physical education college at Basra
University. The researcher used experimental design. 20 female
students of physical education divided equally into two groups, (10)
experimental group with music, (10) control group without music.
All participants complete 6 weeks in testing. Data analysis based on
T-test shows significant difference at (α = 0.05) in all skills level
between experimental and control groups in favor of experimental
group. Results of this study contribute to developing the role of
synchronous music in improving gymnastic skills performance.
Abstract: Background in music analysis: Traditionally, when we
think about a composer’s sketches, the chances are that we are
thinking in terms of the working out of detail, rather than the
evolution of an overall concept. Since music is a “time art,” it follows
that questions of a form cannot be entirely detached from
considerations of time. One could say that composers tend to regard
time either as a place gradually and partially intuitively filled, or they
can look for a specific strategy to occupy it. It seems that the one
thing that sheds light on Stockhausen’s compositional thinking is his
frequent use of “form schemas,” that is often a single-page
representation of the entire structure of a piece.
Background in music technology: Sonic Visualiser is a program
used to study a musical recording. It is an open source application for
viewing, analyzing, and annotating music audio files. It contains a
number of visualisation tools, which are designed with useful default
parameters for musical analysis. Additionally, the Vamp plugin
format of SV supports to provide analysis such as for example
structural segmentation.
Aims: The aim of paper is to show how SV may be used to obtain
a better understanding of the specific musical work, and how the
compositional strategy does impact on musical structures and musical
surfaces. It is known that “traditional” music analytic methods don’t
allow indicating interrelationships between musical surface (which is
perceived) and underlying musical/acoustical structure.
Main Contribution: Stockhausen had dealt with the most diverse
musical problems by the most varied methods. A characteristic which
he had never ceased to be placed at the center of his thought and
works, it was the quest for a new balance founded upon an acute
connection between speculation and intuition. In the case with
Mikrophonie I (1964) for tam-tam and 6 players Stockhausen makes
a distinction between the “connection scheme,” which indicates the
ground rules underlying all versions, and the form scheme, which is
associated with a particular version. The preface to the published
score includes both the connection scheme, and a single instance of a
“form scheme,” which is what one can hear on the CD recording. In
the current study, the insight into the compositional strategy chosen
by Stockhausen was been compared with auditory image, that is, with
the perceived musical surface. Stockhausen’s musical work is
analyzed both in terms of melodic/voice and timbre evolution.
Implications: The current study shows how musical structures
have determined of musical surface. The general assumption is this,
that while listening to music we can extract basic kinds of musical
information from musical surfaces. It is shown that interactive
strategies of musical structure analysis can offer a very fruitful way
of looking directly into certain structural features of music.
Abstract: This paper discusses the role of music as a ludic
activity and constituent element of voice in the construction and
consolidation of the relationship of the baby and his/her mother or
caretaker, evaluating its implications in his/her psychic structure and
constitution as a subject. The work was based on the research
developed as part of the author’s doctoral activities carried out from
her insertion in a project of the Music Department of Federal
University of Rio Grande do Sul - UFRGS, which objective was the
development of musical activities with groups of babies from 0 to 24
months old and their caretakers. Observations, video recordings of
the meetings, audio testemonies, and evaluation tools applied to
group participants were used as instruments for this research.
Information was collected on the participation of 195 babies, among
which 8 were more focused on through interviews with their mothers
or caretakers. These interviews were analyzed based on the
referential of French Discourse Analysis, Psychoanalysis, Psychology
of Development and Musical Education. The results of the research
were complemented by other posterior experiences that the author
developed with similar groups, in a context of a private clinic. The
information collected allowed the observation of the ludic and
structural functions of musical activities, when developed in a
structured environment, as well as the importance of the musicality of
the mother’s voice to the psychical structuring of the baby, allowing
his/her insertion in the language and his/her constitution as a subject.
Abstract: The more homogenized population taken over by the Republic immediately after the Ottoman was being canalized towards the goal of national identity and the historical and cultural structure of the nation was being readdressed and redefined. Modernization and Westernization history of the new Turkey, which started with Ottoman reforms and took its final form with the Kemalist nation-state, politically resulted in transformation from a multinational empire to a “nation-state” and adopted reaching to the level of Western civilizations as a sociology ideal. This objective of change will be achieved, on the one hand, by finding the Turkish culture which was preserved only by the society and by instilling Western civilization to national culture, on the other hand. In line with this, it is seen that in musical considerations while Turkish folk music was accepted and adopted as an indispensible part of Turkish identity, Turkish classical music was refused on the ground that it was not a part of Turkish identity. Again in this period, it is seen that with the notion of cultural reform, which is a part of “nation building”, the desire to create a national music to be performed with Western techniques brought along deliberate interventions to folk music.
Abstract: A lot of research has been done in the past decade in the field of audio content analysis for extracting various information from audio signal. One such significant information is the "perceived mood" or the "emotions" related to a music or audio clip. This information is extremely useful in applications like creating or adapting the play-list based on the mood of the listener. This information could also be helpful in better classification of the music database. In this paper we have presented a method to classify music not just based on the meta-data of the audio clip but also include the "mood" factor to help improve the music classification. We propose an automated and efficient way of classifying music samples based on the mood detection from the audio data. We in particular try to classify the music based on mood for Indian bollywood music. The proposed method tries to address the following problem statement: Genre information (usually part of the audio meta-data) alone does not help in better music classification. For example the acoustic version of the song "nothing else matters by Metallica" can be classified as melody music and thereby a person in relaxing or chill out mood might want to listen to this track. But more often than not this track is associated with metal / heavy rock genre and if a listener classified his play-list based on the genre information alone for his current mood, the user shall miss out on listening to this track. Currently methods exist to detect mood in western or similar kind of music. Our paper tries to solve the issue for Indian bollywood music from an Indian cultural context
Abstract: Precise frequency estimation methods for pulseshaped echoes are a prerequisite to determine the relative velocity between sensor and reflector. Signal frequencies are analysed using three different methods: Fourier Transform, Chirp ZTransform and the MUSIC algorithm. Simulations of echoes are performed varying both the noise level and the number of reflecting points. The superposition of echoes with a random initial phase is found to influence the precision of frequency estimation severely for FFT and MUSIC. The standard deviation of the frequency using FFT is larger than for MUSIC. However, MUSIC is more noise-sensitive. The distorting effect of superpositions is less pronounced in experimental data.
Abstract: In this paper, we propose effective system for digital music retrieval. We divided proposed system into Client and Server. Client part consists of pre-processing and Content-based feature extraction stages. In pre-processing stage, we minimized Time code Gap that is occurred among same music contents. As content-based feature, first-order differentiated MFCC were used. These presented approximately envelop of music feature sequences. Server part included Music Server and Music Matching stage. Extracted features from 1,000 digital music files were stored in Music Server. In Music Matching stage, we found retrieval result through similarity measure by DTW. In experiment, we used 450 queries. These were made by mixing different compression standards and sound qualities from 50 digital music files. Retrieval accurate indicated 97% and retrieval time was average 15ms in every single query. Out experiment proved that proposed system is effective in retrieve digital music and robust at various user environments of web.
Abstract: The way music is interpreted by the human brain is a very interesting topic, but also an intricate one. Although this domain has been studied for over a century, many gray areas remain in the understanding of music. Recent advances have enabled us to perform accurate measurements of the time taken by the human brain to interpret and assimilate a sound. Cognitive computing provides tools and development environments that facilitate human cognition simulation. ACT-R is a cognitive architecture which offers an environment for implementing human cognitive tasks. This project combines our understanding of the music interpretation by a human listener and the ACT-R cognitive architecture to build SINGER, a computerized simulation for listening and recalling songs. The results are similar to human experimental data. Simulation results also show how it is easier to remember short melodies than long melodies which require more trials to be recalled correctly.
Abstract: Music segmentation is a key issue in music information
retrieval (MIR) as it provides an insight into the
internal structure of a composition. Structural information about
a composition can improve several tasks related to MIR such
as searching and browsing large music collections, visualizing
musical structure, lyric alignment, and music summarization.
The authors of this paper present the MTSSM framework, a twolayer
framework for the multi-track segmentation of symbolic
music. The strength of this framework lies in the combination of
existing methods for local track segmentation and the application
of global structure information spanning via multiple tracks.
The first layer of the MTSSM uses various string matching
techniques to detect the best candidate segmentations for each
track of a multi-track composition independently. The second
layer combines all single track results and determines the best
segmentation for each track in respect to the global structure of
the composition.
Abstract: Thai and Vietnamese music had been influenced and inspired by the traditional Chinese music. Whereby the differences of the tuning systems as well as the music modes are obviously known . The research examined the character of musical instruments, songs and culture between Thai and Vietnamese. An analyzing of songs and modes and the study of tone vibration as well as timbre had been done accurately. This qualitative research is based on documentary and songs analysis, field study, interviews and focus group discussion of Thai and Vietnamese masters. The research aims are to examine the musical instruments and songs of both Thai and Vietnamese as well as the comparison of the sounding system between Thailand and Vietnam. The finding of the research has revealed that there are similarities in certain kinds of instruments but differences in the sound systems regarding songs and scale of Thailand and Vietnam. Both cultural musical instruments are diverse and synthetic combining native and foreign inspiring. An integral part of Vietnam has been highly impacted by Chinese musical convention. Korea, Mongolia and Japan music have also play an active and effectively influenced as their geographical related. Whereas Thailand has been influenced by Chinese and Indian traditional music. Both Thai and Vietnamese musical instruments can be divided into four groups: plucked strings, bowed strings, winds and percussion. Songs from both countries have their own characteristics. They are playing a role in touching people heart in ceremonies, social functions and an essential element of the native performing arts. The Vietnamese music melodies have been influenced by Chinese music and taken the same character as Chinese songs. Thai song has specific identity and variety showed in its unique melody. Pentatonic scales have effectively been used in composing Thai and Vietnamese songs, but in different implementing concept.
Abstract: As the remedy used music becomes active and
meditation effect through the music is verified, people take a growing
interest about psychological balance or remedy given by music. From
traditional studies, it is verified that the music of which spectral
envelop varies approximately as 1/f (f is frequency) down to a
frequency of low frequency bandwidth gives psychological balance.
In this paper, we researched signal properties of music which gives
psychological balance. In order to find this, we derived the property
from voice. Music composed by voice shows large value in NCSD.
We confirmed the degree of deference between music by curvature of
normalized cumulative spectral distribution. In the music that gives
psychological balance, the curvature shows high value, otherwise, the
curvature shows low value.
Abstract: The relics of traditional folk culture in Kazakhstan are ceremonies or their fragments - such as weddings, funerals, shamanism. The world of spiritual creatures, spirits-protectors, spirits-helpers, injury spirits, spirits of illnesses, etc., is described in detail in shamanic rites (in Kazakh culture it is called bakslyk). The study of these displays of folk culture, which reflect the peoples` ethnic mentality or notions about the structure, values and hierarchies of the universe, includes collection and recording of the field materials and their interpretation, i.e. reconstruction of those meanings which were initially embodied or “coded" in folklore. A distinctive feature of Kazakh nomadic culture is its self-preservation and actualization, almost untouched the ancient mythologies of the world, in particular, the mythologies connected with music, musical instruments and the creator of music. Within the frameworks of the traditional culture the word and the music keep the sacral meaning. The ritual melodies and what they carry – the holly, and at the same time unexplored, powerful and threatening, uncontrolled by people world – keep on attributing the soul to all, connected with culture.