Main Melody Research Articles

Interpretation of Gabriel Faure’s Pavane: Compositional and Performing Aspects

Modern interpretations of Gabriel Fauré’s Pavane demonstrate the artistic potential of the work. The variety of performances (from large orchestral and choral ensembles to chamber ensembles) shows the wide possibilities of the composition. The composer’s and performer’s versions of B. McFerrin’s compositiona and performing versions reveal a tendency to preserve the author’s text, despite the performance of the main melody by voice. The version for guitar and string quartet arranged by Thomas Koenigs and performed by the Accord Quintet, demonstrates a performing interpretation with the composer’s reworking of the work. The purpose of the research is to reveal the expressive possibilities of Gabriel Fauré’s Pavane and to characterise the specifics of his interpretation. Research methodology. The article uses the following methods: theoretical – in analysing the studies of domestic and foreign authors and available information sources; synthesis method – to establish the links between the elements identified during the analysis in order to establish a holistic concept and generalise the information obtained. Scientific novelty. For the first time in national scientific thought, the peculiarities of the performing and composer’s interpretation of G. Fauré’s Pavane are considered, and its expressive means and artistic potential are highlighted. Conclusions. Currently, there are many modern interpretations of G. Fauré’s Pavane. These performing versions are adapted for different performing groups. The modifications that take place with the composition illustrate the extraordinary artistic potential of the work. Despite the changes in the performing cast, tempo and texture, the work has not lost its relevance and popularity in the present day. The components, that are most frequently changed, are tempo, arrangement, and textural and structural modifications.

A Comparative Study of Zhang Yimou and Chen Kaige Main Melody Films

This paper delves into the contemporary landscape of Chinese "main melody" cinema, shedding light on its developmental trajectory and distinctive attributes. It particularly hones in on the creative contributions of two prominent directors in this genre: Zhang Yimou and Chen Kaige. Through an exploration of their works, this paper aims to provide readers with a comprehensive grasp of their filmmaking styles and thematic innovations. Zhang Yimou, a celebrated filmmaker, is introduced with a focus on his melodramatic masterpiece, "Impasse." This paper goes on to scrutinize the thematic content of this film, offering readers an insight into its narrative depth and emotional resonance. In parallel, director Chen Kaige is introduced, with a detailed analysis of his "main melody" opus, "The Battle at Lake Changjin," revealing its narrative structure and character portrayals, thereby facilitating a comprehensive understanding of the film. Furthermore, this paper delves into the innovative elements, character development, and cinematographic techniques employed by Zhang Yimou in "Impasse," while also dissecting the narrative structure and characterizations found in Chen Kaige's "The Battle at Lake Changjin." In conclusion, the paper conducts a comparative analysis of Zhang Yimou and Chen Kaige's distinct approaches to crafting "main melody" films, illuminating the unique characteristics that distinguish these two accomplished directors in the realm of Chinese cinema.

Infusing patriotism in popular culture: the multimodal construction of patriotic values in a Chinese main melody film

ABSTRACT The porous boundary between popular culture and politics has often led to the political appropriation of popular cultural venues for promoting official ideologies and fostering patriotic consciousness. To understand how patriotic values are infused into popular culture, this study analyzes a 2019 Chinese “main melody” film, My People, My Country, from a social semiotic perspective. To examine the interplay between power, narrative, and patriotism, a framework is developed to analyze the patriotic values and how they are constructed through linguistic and visual resources. Analysis shows that patriotism represented in the film incorporates four types of values, namely, national shame and pride, self-sacrifice, kindness, and diligence. These values are realized through the multimodal design of characters’ actions and historical events. The findings shed new light on evolving Chinese patriotism and the unique cultural governance in China shaped by the entangled forces of neoliberalism and Chinese culture.

Research on the Innovation of Traditional Music Inheritance Mode Supported by Multimedia Technology

Abstract Traditional music is an important carrier for the development and dissemination of Chinese culture, and this paper aims to use multimedia technology to broaden the inheritance of traditional music and put forward the modernized inheritance of traditional music. In order to solve the limitation of time and space of this inheritance mode, it is proposed to utilize the main melody extraction technology of MIDI music to extract and identify the humming melody for the inheritance mode of traditional music. To facilitate the creation and retrieval of traditional music, a traditional music humming retrieval system based on the CHMM model has been designed by improving the HMM model based on score and audio training. Set the neural network model’s parameter values and bound values and use the multimedia system in teaching to test its effectiveness. The algorithm in this paper stabilizes the extraction error value for MIDI music melody at a value between 0.10 and 0.18. Combined with the school’s use of multimedia inheritance technology for traditional music, more than 70% of the students think that the teaching of traditional music using modern multimedia technology is very good. Only 0.01685 students expressed uncertainty about the significance of multimedia in traditional music teaching. The evolution of multimedia technology in traditional music transmission is evident.

Musical Phenomenon in the Traditional Art of Alee Tunjang in Aceh

Alee Tunjang is an art form originating from North Aceh Regency that consists of melodic and rhythmic music elements. The form of this art instrument is in the form of vocals that chant verses, and mortar beaten by alu/alee in the form of percussion rhythms with six sound colors. These two types of musical instruments form a distinctive musical fabric in the presentation of the performance, where melodic and rhythmic instruments are played not only as the main melody and melodic musical accompaniment, but the two elements become inseparable, as evidenced by the musical fills of Alee Tunjang that alternate and complement each other. The purpose of this research is to analyze the musical phenomena found in the art of Alee Tunjang. The method in this research uses a qualitative approach, with data collection techniques: literature review, observation, interview, and documentation. Alee Tunjang's music is divided into three sections, namely: Saleum, Kisah, and Lani, which consists of one vocal player and five lesung players, each with a constant rhythm and repetition. The tempo and rhythm are similar in all parts of the Alee Tunjang song/chapter. The difference in rhythm and cadence is found in the lesung 4th instrument which plays the tung sound color by playing a pattern on a different weak beat in each part of the song/chapter of Alee Tunjang.

Research on Role Orientation and Situation Construction of Contextualized Music Performance in the Background of Artificial Intelligence

Abstract In this paper, the Skip-gram model is used to process the main melody information of contextualized music, combining feature extraction and Schenkel analysis to extract the main melody note sets and vectors. By applying the short-time Fourier transform (STFT) to the audio signal, the spectral center of mass and irregularities can be calculated to represent the emotional features of the music. To obtain music features based on wavelet coefficients, the music signal is decomposed, and each scale’s signal features are counted individually. Finally, by taking the musical elements as independent variables and the perceived results of pleasure and activation in the contextual model as dependent variables, we compared the variability of the dynamic associations between emotional perceptions and the musical elements among different contextualized music pieces. The results showed that the overall differences in emotional cognition across musical performances ranged between ±0.5, with the mean short-term energy amplitude of relatively cheerful music ranging between ±0.2, which was smaller than that of angry (±0.3) and sad (±0.5) music. In this study, musical works were accurately characterized, and their expressive and infectious power was effectively enhanced through contextual construction.

Bridging Thai music notation to Western music scores through innovative conversion and evaluation

Research on bridging Thai music notation to Western music scores through innovative conversion and evaluation by developing a Thai music notation printing program through innovative research For converting Thai musical notation into an international musical score by researching documents and related research along with advice from music experts. After that, the program was tried and evaluated by three experts and 20 test users. The results of the research showed the creation of a program to Thai music notation to Western music note structure conversion called XxX Notation (Triple Note) by accessing the domain http://www.music.msu.ac.th/xxxnotation-v2, which is under the website of the College of Music, Mahasarakham University. Music can be saved online, reused, and edited. Able to export notes to paper through printers, PDF, Word, and Excel. Able to listen to the sound of printed notes. It is the sound of a large gong, which is an instrument in the main melody of Thai music. And can increase or decrease speed. To Thai music notation to Western music note structure conversion. Use Thai music notation input, convert the data to MusicXML, and display it as an international note. The results of the quality assessment of the Thai music notation printing program from 3 experts to evaluate the quality of the program in 4 aspects found that the program evaluation results were the highest quality with an average of 4.68, and the quality assessment results from 20 users were the highest quality with an average of 4.76.

경제 범패 <복청게>의 갈래별 음악적 특성 비교 분석

Baggatchaebi-sori and anchaebi-sori in beompae (Buddhist chant) have been
 considered as having extremely different musical characteristics. However, as a
 result of taking a look at the hotsori Bokcheongge as the baggatchaebi-sori
 and the getakseong Bokcheongge as the anchaebi-sori , substantially similar
 musical characteristics have been discovered. In addition, the distinguishable
 musical characteristics have been found out in them. Based on the analysis
 results, the commonality and distinction can be summarized as follows.
 In the hotsori Bokcheongge and the getakseong Bokcheongge, common
 characteristics are observed in the musical elements including tempo and
 meter, text setting, range, musical structure, kkeukneun-mok (decorative
 sound) between re'-do', yoseong (vibrating sound), the use of ‘main melody
 types' (Type A~C), cadence, and tori (melodic mode reflecting the locality).
 There is somewhat difference in the way of utilizing 'main melody types', but
 it can be said that it is common that both utilize the ‘main melody types’.
 Meanwhile, the distinguishable musical characteristics of the hotsori
 Bokcheongge and getakseong Bokcheongge is that the scale of the hotsori
 is composed of mi, sol, la, do', re', mi', fa' and sol' while that of the
 getakseong does not include fa'. This phenomenon is caused by partial
 transposition that occurred due to the expansion of the vocal range. Since the
 decorative sound (kkeukneun-mok) between re'-do' becomes sol'-fa' when it is
 changed to a perfect 4th above, fa' appears as a constituent sound in the
 hotsori Bokcheongge. On the other hand, in the getakseong Bokcheongge,
 the vocal range is expanded, but it does not lead to transposition and thus fa'
 does not appear. The text setting in several ways of making lyrics is the same
 in both, but two verses of the getakseong are characterized by syllabic setting (one note per syllable). In addition, the jachulineun-sori (singing technique
 with gradually lowering the melody) is used in hotsori while it is omitted in
 the getakseong .

Creating Zhudi and Guzheng sampler based on Nyquist

Nyquist is a strong and basic software for making music with algorithms. With the western instruments available as functions inside the software, this research aims to create sampler of traditional Chinese instruments that can read Musical Instrument Digital Interface (MIDI) files based on the present functions. This research mainly focuses on two instruments: Guzheng, a traditional plucked instrument in China and Zhudi, the oldest Chinese musical instrument found so far and the most representative woodwind in the Chinese musical instrument family. The methods used in this research is built on original functions, envelopes, filters in the software. After creating the samplers, the MIDI file users uploaded will be converted into scores inside Nyquist for the samplers to read. The separation of the MIDI file is done by if and else clauses, splitting the samplers to each focus on a certain part of the song. Based on the methods above, this research yields a sample song that has a MIDI file originally in the timbre of piano applied to both samplers at the same time. The outcome yielded applies two samplers separated at a certain pitch, forming a contrast between the main melody and the chords. This research successfully achieves its intended purpose, creating a bridge that connects western music culture with traditional eastern music culture.

Aransemen Lagu Buku Ende No.471 Hupillit Jesus Dongan Ki Pada Permainan Kuartet Saxophone Di GKPI Pagar Beringin Permai

This thesis discusses the presentation of the arrangement of the song Hupillit Jesus Dongan Ki which is found in ende book number 471 and logu book number 318 by Karl Kuhlo. The author presents this arrangement in the form of a saxophone quartet instrument, namely soprano saxophone, alto saxophone, tenor saxophone and baritone saxophone. This production uses a 4/4 time signature and the basic note F = do with Andante tempo (MM 85). The author worked on this song in the form of a saxophone quartet, while maintaining the original melody of this song which was sung by the soprano saxophone. However, for alto, tenor and baritone saxophone, each melody is the result of developing ideas from the main melody. The development of the form of melody, rhythm, tempo, harmony, dynamics, in this arrangement aims to deepen the message and meaning of the song. According to the title of the research, the researcher used a qualitative descriptive research method, namely by describing the arrangement of the song Hupillit Jesus Dongan Ki by Karl Kuhlo on a saxophone quartet playing at GKPI Pagar Beringin Permai, which was carried out in August - September 2023. By conducting observations and interviews, looking for literature and several sources related to arranging and saxophone, and arranging in writing. The result of this research is a new presentation concept for the song Hupillit Jesus Dongan Ki in the form of a saxophone quartet instrument. The different sound characteristics of each saxophone instrument make the harmony of the song even more beautiful. Improvised forms of alto, tenor and baritone saxophone melodies can fill in any gaps in the main melody, thereby enriching the harmony of the song Hupillit Jesus Dongan Ki..

Salience of Frequency Micro-modulations in Popular Music

Singing voices attract auditory attention in music unlike other sounds. In a previous study, we investigated the salience of instruments and vocals using a detection task in which cued target sounds were to be detected in musical mixtures. The presentation order of cue and mixture signals influenced the detection of all targets except the lead vocals, indicating that listeners focus on voices regardless of whether these are cued or not, highlighting a unique vocal salience in music mixtures. The aim of the present online study was to investigate the extent to which phonological cues, musical features of the main melody, or frequency micro-modulation (FMM) inherent in singing voices contribute to this vocal salience. FMM was either eliminated by using an autotune effect (Experiment 1) or transferred to other instruments (Experiment 2). Detection accuracy was influenced by presentation order for all instrumental targets and the autotuned vocals, but not for the unmodified vocals, suggesting that neither the phonological cues that could provide a facilitated processing of speech-like sounds nor the musical features of the main melody are sufficient to drive vocal salience. Transferring FMM from vocals to instruments or autotuned vocals reduced the magnitude of the order effect considerably. These findings suggest that FMM is an important acoustical feature contributing to vocal salience in musical mixtures.

Multi-mmlg: a novel framework of extracting multiple main melodies from MIDI files

As an essential part of music, main melody is the cornerstone of music information retrieval. In the MIR’s sub-field of main melody extraction, the mainstream methods assume that the main melody is unique. However, the assumption cannot be established, especially for music with multiple main melodies such as symphony or music with many harmonies. Hence, the conventional methods ignore some main melodies in the music. To solve this problem, we propose a deep learning-based Multiple Main Melodies Generator (Multi-MMLG) framework that can automatically predict potential main melodies from a MIDI file. This framework consists of two stages: (1) main melody classification using a proposed MIDIXLNet model and (2) conditional prediction using a modified MuseBERT model. Experiment results suggest that the proposed MIDIXLNet model increases the accuracy of main melody classification from 89.62 to 97.37%. In addition, this model requires fewer parameters (71.8 million) than the previous state-of-art approaches. We also conduct ablation experiments on the Multi-MMLG framework. In the best-case scenario, predicting meaningful multiple main melodies for the music are achieved.

Quantitative Evaluation of Piano Performance Technique and Style Based on Continuous Discretization Method

Abstract The piano education industry occupies a huge market. However, the automatic piano performance evaluation function has shortcomings in the existing piano education. In this paper, we first design a piano performance evaluation model based on the continuous discretization method for piano performance audio and improve the piano performance feature filtering and feature extraction methods through cubic spline interpolation and support vector regression, respectively. Secondly, a piano performance evaluation system based on music theory knowledge is studied to evaluate the user’s performance ability based on the rating of rhythm, main melody, and musicality performance of different levels of score performance audio and to achieve the purpose of assisting piano teaching. The results show that the difference between the scoring based on the continuous, discrete model and the actual level value of the player is less than 0.05, and the output of the evaluation system can achieve consistency; in the comparison experiments, the accuracy of three traditional evaluation models, BP, RNN, and LSTM, is 45%, 42%, and 75%, respectively, while the accuracy of the continuous, discrete model is 78%, with an average performance improvement of 23%. The continuous, discrete piano performance evaluation model proposed in this paper is more effective and objective in evaluating users’ piano performance ability and provides a guiding reference for performance evaluation in the piano education industry.

Deep Learning for Multi-Structured Javanese Gamelan Note Generator

Javanese gamelan, a traditional Indonesian musical style, has several song structures called gendhing. Gendhing (songs) are written in conventional notation and require gamelan musicians to recognize patterns in the structure of each song. Usually, previous research on gendhing focuses on artistic and ethnomusicological perspectives, but this study is to explore the correlation between gendhing as traditional music in Indonesia and deep learning technology that replaces the task of gamelan composers. This research proposes CNN-LSTM to generate notation of ricikan struktural instruments as an accompaniment to Javanese gamelan music compositions based on balungan notation, rhythm, song structure, and gatra information. This proposed method (CNN-LSTM) is compared with LSTM and CNN. The musical data in this study is represented using numerical notation for the main melody in balungan notation. The experimental results showed that the CNN-LSTM model showed better performance compared to the LSTM and CNN models, with accuracy values of 91.9%, 91.5%, and 91.2% for CNN-LSTM, LSTM, and CNN, respectively. And the value of note distance for the Sampak song structure is 4 for the CNN-LSTM model, 8 for the LSTM model, and 12 for the CNN model. The smaller the note distance, the closer it is to the original notation provided by the gamelan composer. This study provides relevance for novice gamelan musicians who are interested in learning karawitan, especially in understanding ricikan struktural music notation and gamelan art in composing musical compositions of a song.

Retracted: Extraction of Music Main Melody and Multi-Pitch Estimation Method Based on Support Vector Machine in Big Data Environment.

[This retracts the article DOI: 10.1155/2022/1074174.].

Citraan dan Majas dalam Lirik Lagu "Harehare Ya" Karya Maigo Hanyuu Kajian Stilistika

Song lyrics are part of the music. Music is made up of rhythm, time signature, harmony and melody. Song lyrics act as one of the elements in the main melody in a music. This study aims to describe the images and figure of speech in the lyrics of the song harehare ya by Maigo Hanyuu. The method used in this study uses stylistic studies as an analytical tool. The data used in this study are the lyrics of the song harehare ya by Maigo Hanyuu. The theory used is Hermintoyo's imagery theory and Seto Kenichi's figure of speech theory. Based on data analysis, it can be concluded that in the lyrics of the song harehare ya by Maigo Hanyuu, imagery and figurative language are found. There are four imagery in the lyrics of this song, namely, imagery of sight, hearing, movement, and feeling. In the lyrics of this song, there are also many figurative language of affirmation dominated by repetition. There are nine repetition figures of speech in the lyrics of this song, and rhetorical figures of speech in the lyrics of this song are two.Keywords: Figure of speech, harehare ya, imagery, song lyrics

Scat Singing Learning Method in Jazz Vocals for Vocal Students of Music Presentation Institut Seni Indonesia Yogyakarta

Scat singing is the designation of vocal improvisation techniques in jazz music. This form of vocal improvisation was first popularized by Louis Armstrong in 1962. Scat singing is often learned by imitating improvised musical instruments into vocals, such as saxophones, trumpets, guitars, or pianos. Popjazz vocal students of the ISI Yogyakarta Music Presentation study program began to be introduced and learned scat singing from semester 2 to semester 6. Only a few students successfully apply this vocal improvisation technique when singing in performances and jam sessions. The author as a lecturer of popjazz vocal practice in the Music Presentation Study Program has observed the difficulties experienced by the majority of students. Several stages of learning have been applied in the learning process, for example by understanding scales and chord patterns, developing the main melody in songs, enriching vocal dialects, to multiplying musical references. This stage of learning was not significantly successful in helping students master scat singing. This study aims to formulate a learning method of vocal improvisation techniques for scat singing. The data collection process is carried out by observing the learning process during lectures, interviews with students, and regular singing practice. Inductive qualitative data analysis, which is an analysis based on the data obtained then developed a certain relationship pattern or hypothesis. The research was conducted by qualitative methods, with the final result being a descriptive sentence formulation of steps to master the vocal improvisation technique of scat singing. This conclusion is expected to be an overview for lecturers in order to determine the right approach to help students master scat singing and dare to apply it in songs.

The Changing Face of Mao: From Texing Actor to Star Casting in Chinese Main Melody Films

Serving as political propaganda through entertainment, China’s “main melody” films came into existence under specific historical circumstances in the late 1980s and have kept evolving with the changing Chinese film industry. The increasing prevalence of film stars taking on historical roles in these films represents one of the most conspicuous changes in the practice. Instead of regarding the stars only as serving a commercial function to increase audience sizes, this article adopts a socio-semiotic approach to explore the impact of having film stars in the main melody film texts. Through analyzing three generations of Mao actors and their performances, I argue that the casting of stars helps to de-textualize the revolutionary messages and transform their ideological symbolism into social discourse. The film stars help main melody films become an integral part of contemporary Chinese political culture, characterized by a similar separation of form and content.

Research on the application of digital music in mental health education in colleges and universities

Abstract The interdisciplinary study of mental health education and digital music in colleges and universities is an indispensable part of China’s education discipline system. To solve the current problems of mental health education in colleges and universities, this paper analyzes the promotion role of digital music and the development of mental health in colleges and universities. The hierarchical analysis method is used to build a mental health assessment index system in colleges and universities. Using the VPMCD method, based on the intrinsic relationship between different index characteristics, a digital music-based psychological health assessment model for colleges and universities is established to assess the psychological health problems of college students. According to the psychological assessment results, the listening psychological intervention method is used to psychologically intervene with students. And by calculating the main melody of digital music materials, the type of music intervention materials used was determined. Experimental results: The listening psychological intervention method successfully led to the slow recovery of students with severe and moderate mental health problems and the complete recovery of students with mild psychological problems. 11 students (9.2% of the total) were completely cured of their psychological problems among the freshmen students in college A. The number of students who reduced their psychological problems was 86, accounting for 81.1% of the total. 26 students, accounting for 32.3% of the total, were completely cured of their psychological problems in their sophomore year at College A. The number of students who reduced their psychological problems was 56, accounting for 51.3% of the total. It proves that: digital music plays a supplementary role in college mental health education and proposes a new way of implementation for college mental health education. It promotes the diversified development of mental health education in colleges and universities as well as the cultivation of positive psychological qualities of college students and guides them to grow up positively and healthily.

The reason of the success of the main melody works and its influence on the values of contemporary college students----take “The Age of Awakening” as an example

At present, under the background of emerging main melody mass media, The Age of Awakening stands out among many works and has been widely praised in terms of audience rating and public praise. What is the reason for so many positive comments? In addition, compared with other main melody TV plays and variety shows, the audience group of this TV play is not limited to the middle-aged and the elderly, and young people, especially contemporary college students, have become the main audience group. How does the Age of Awakening attract young people? Can its influence on the values of college students be applied to ideological and political classes? In order to explore these questions, the research team, based on the results of questionnaires and interviews in the Age of Awakening and from the four theoretical dimensions of "knowledge, emotion, intention and action” as the analytical framework, sorted out the reasons for the success of the Age of Awakening and its influence on the values of contemporary college students.