Music Content Research Articles

Correlation of Assessments and Knowledge of Musical Tradition of Fifth-Grade Students of Banjaluka Elementary Schools

The subject of this research is the existence of a correlation between two significant variables, namely students' assessments of traditional folk music and knowledge in this area, but also between crossed variables of assessments of different components. The research was conducted on a sample of N=205 fifth-grade students from three elementary schools in Banja Luka. Research has shown that students' assessments and knowledge are related in almost all parameters, except folk instruments and composers, whose correlation is not statistically significant. Also, the hypothesis that there is a connection between all parameters of assessments of folk music tradition (traditional folk songs, folk instruments, musical dances) as well as with popular children's songs was fully confirmed. Actively dealing with traditional musical content as well as new research will shed light on the importance of the presence of folk music tradition in elementary schools.

Constructivism as a Popular Musical Narrative in Serbia: Changing of Sound, Ideological and Visual Monopoly in Serbian Music Industry

The fact that popular culture and music, as part of the mainstream, continuously change and adapt, places them within the framework of contemporary critical theory. In this paper popular music is analyzed through the adaptation of the production of meaning to the dominant ideology and thus enables the understanding of the connection between socio-cultural parameters, language system, political, economic factors, and art. As a reflection of socio-political references, in Serbia, in the last three decades, musical ideas that grew out of the folk and street culture of the city have become intertwined. This paper represents a sociolinguistic analysis of the new musical thought of the singer-songwriter Ana Đurić, who goes by the artistic name Konstrakta, who, within the campaign for the Eurovision Song Contest in May 2022 in Turin, extended her artistic influence beyond the national borders of Serbia. In the analyzed musical content, socio-political and economic concepts of reality in Serbia stand out. From the critical theory standpoint, music is placed sociolinguistically and is interpreted from textual, visual, musical, and non-musical (informative) aspects. The results of such analysis confirm its multimodal function and form a special narrative in which reality in music is represented by music within the framework of reality. Showing the ability to combine the elements of her own both musical and non-musical expression, Ana Đurić proved herself to be comprehensible to an audience of all ages, to those who understand Serbian, but also to others who understand Konstrakta’s parallel, visual language. The narrative she creates leads to the conclusion that the level of music consumption as pure entertainment has become a secondary track of the Serbian musical mainstream. In the strength of Ana Đurić’s social engagement, the recognizable antagonism of old and new musical ideas shapes the original Serbian musical language of the 21st century – clear and independent of the inertia of current musical high-production.

Interview: Juliette Larthe

Juliette Larthe cofounded Prettybird in London with Kerstin Emhoff and Paul Hunter. As an executive producer she brought a multidisciplinary working manifesto and culture to the start-up. Larthe works as a producer and executive across not just screen advertising but feature films, multimedia brand content, immersive, experiential art works, music content, short- and long-form content, live installations and fashion shows. Juliette’s work has earned her numerous awards across the globe, including Grammys, British Arrows, UKMVAs, MTV, Clios, Cannes Lions, Kinsale Sharks and D&AD awards. Juliette campaigns for equality and diversity in the creative industries, supporting mentorships with ELAM, Creative Equals and also works with the charity End Youth Homelessness. She has been Head of the Jury, Jury President or Jury Member for the British Arrows, UKMVAs, Kinsale Sharks, D&AD and Ciclope. Prettybird’s London roster includes directors Ashley Armitage, Tom Beard, Bradley & Pablo, Jason Bock, Margo Bowman, Calmatic, Daniels, Jora Frantzis, Nisha Ganatra, Isabel Garrett, Rami Hachache, Paul Hunter, Jodeb, Eloise King, Jess Kohl, Matt Lambert, Salomen Ligthelm, Tom Noakes, Max Malkin, Melina Matsoukas, Rafaela Carvalho, Sophie Muller, Matt Piedmont, Ian Schwartz, Tim & Eric, Joseph Wilson, Vellas and Yousef.

A novel approach for explicit song lyrics detection using machine and deep ensemble learning models

The content of music is not always suitable for all ages. Industries that manage music content are looking for ways to help adults determine what is appropriate for children. Lyrics of songs have become increasingly inappropriate for kids and can negatively impact their mental development. However, it is difficult to filter explicit musical content because it is mostly done manually, which is time-consuming and prone to errors. Existing approaches lack the desired accuracy and are complex. This study suggests using a combination of machine learning and deep learning models to automatically screen song lyrics in this regard. The proposed model, called ELSTM-VC, combines extra tree classifier and long short-term memory and its performance is compared to other models. The ELSTM-VC can detect explicit content in English lyrics and can be useful for the music industry. The study used a dataset of 100 songs from Spotify for training, and the results show that the proposed approach effectively detects explicit lyrics. It can censor offensive content for children with a 96% accuracy. The performance of the proposed approach is better than existing approaches including machine learning models and encoding-decoding models.

Music Quotation in Contemporary Non-Academic Art: Aspects of Genre and Style Transformation

"The problematic field of the article focuses on aspects of genre and style transformation of well-known musical content that is recognizable and stylistically significant. In contemporary non-academic art, the established semantics of the original source is subject to change under the influence of a new creative rethinking, the possibilities of which are only increasing in the context of the technologies of the twenty-first century. These possibilities are embodied in various visual formats: from direct citation to borrowing or processing with its variations. The relevance of this topic lies in the need to study the phenomenon of citation as such, as well as to research and systematize other means of genre and style transformation of musical material. The direct object of the study is mostly music of the so-called “light” genres, music of mass culture, due to more mobile, transparent and visual observation opportunities. The author offers a self-made classification of possible methods of borrowing someone else’s text as a means of compositional technique, as well as of individual genres: cover, remake, borrowing, allusion, sampling. In the context of the study of the phenomenon of “musical text”, the peculiarities of realization and perception of the artistic and integral result are traced. As a result, several types of citation that have become widespread in contemporary music are distinguished. Keywords: quote, citation, borrowing, autocitation, samples, cover, remake, collage, intertextuality. "

Https://www.elibrary.ru/item.asp?id=50463761

The article deals with the issues of the modern piano repertoire of the outstanding composer Chu Wanhua. The author of the article dwells on the issues of combining traditions and innovations in his piano compositions. The folklore tradition occupies the most important place in his work. The author of the article says that the problem of the relationship between the composer and folklore is becoming more acute and relevant today. Also, as early as the 1960s, Chinese composers began to actively study and use modern writing techniques, such as atonality, twelve-tone technique, experimental avant-garde, etc. The rejection of the traditional foundations of the musical language, combined with at least some tangible elements of folklore material, made it possible for the listener to identify the musical content of the work. Despite the complex musical language and techniques, such works made it possible to associate them with one or another national tradition. The piano work of the Chinese contemporary composer Chu Wanhua in a special way reveals the synthesis of traditions and innovations in music.

THE IMAGE OF SERVILIA IN THE COLLISIONS OF THE INTONATION PLOT: FROM THE DRAMA OF L. A. MEI TO THE OPERA OF N. A. RIMSKY-KORSAKOV

The presented materials are the fi rst experience of considering the musical characteristics of Servilia in the context of the intonational events of N. A. Rimsky-Korsakov’s opera of the same name, unfolding in the multidimensional space of its musical reality. The personal drama of the heroine is placed in socio-historical collisions: on the one hand, the confl ict of tyranny and citizenship, and on the other, the main socio-historical confl ict immersed in the deep layers and expressed in the confrontation between paganism and Christianity. The results of the study of the opera’s musical content testify to the modality of the musical image of the young patrician, consolidating the meanings of the intonational plot, and thus being the intonational epicenter of the opera.

THE IMAGE OF SERVILIA IN THE COLLISIONS OF THE INTONATION PLOT: FROM THE DRAMA OF L. A. MEI TO THE OPERA OF N. A. RIMSKY-KORSAKOV

The presented materials are the fi rst experience of considering the musical characteristics of Servilia in the context of the intonational events of N. A. Rimsky-Korsakov’s opera of the same name, unfolding in the multidimensional space of its musical reality. The personal drama of the heroine is placed in socio-historical collisions: on the one hand, the confl ict of tyranny and citizenship, and on the other, the main socio-historical confl ict immersed in the deep layers and expressed in the confrontation between paganism and Christianity. The results of the study of the opera’s musical content testify to the modality of the musical image of the young patrician, consolidating the meanings of the intonational plot, and thus being the intonational epicenter of the opera.

Consumer value of virtual music festivals

AbstractVirtual music festivals (VMFs) are a great opportunity for the music industry to improve high quality digital events; as an alternative consumption phenomenon, VMFs can reach hybrid audiences and help in the challenge of digitalization. This study aims to investigate the multidimensional structure of consumer value in VMFs (intra‐variable perspective), as well as the effects of value on cognitive versus affective satisfaction and loyalty (inter‐variable perspective). Using a qualitative–quantitative approach—focus group and survey with festival attendees (n = 246)—, a value structure of VMF is tested with partial least square–SEM as a reflective‐formative‐formative third‐order model. Benefits and sacrifices are second‐order constructs, while five positives (escape, novelty, enjoyment, musical content, and socialization) and two negatives (monetary and nonmonetary costs) are first‐order ones. Results show VMFs value as a multidimensional trade‐off, where socialization is not contributing to value, but a balance between cognitive (musical content) and affective (enjoyment, and less escape and novelty) exists. Furthermore, consumer value intensifies both cognitive and affective satisfaction, but just the former affects loyalty. These findings provide new insights to better understand the decision‐making processes of virtual festival attendees.

Comparison of Multiple Machine Learning Algorithms for Music Genre Classification

With the fast advance of the Internet and the continuous improvement of computer technology, speech recognition has been applied in many fields, and speech recognition has broad prospects for development. Music and audio classification technology can add category labels to music based on music content, which is of great significance in the research and application of efficient organization, retrieval and recommendation of music resources. In order to efficiently classify audio from massive online music data and help users to obtain the most suitable music style, a deep learning classification algorithm based on convolutional neural network (CNN) is proposed. To examine its effectiveness, it is compared with traditional machine learning algorithm. First, the original music data set was preprocessed and then feature extraction was carried out to obtain music features and transform them into spectral maps. Traditional machine learning model and deep learning component model were used for simulation experiments. The testing accuracy of the deep learning model is up to 92%, verifying the model's superiority.

구전신화 바리공주의 대중음악 콘텐츠화 연구

The purpose of this study is to analyze the cases of popular music contents of Princess Bari mythology that have been passed down through oral tradition, and through this, to examine the aspects of effective processing and modern implementation of cultural archetypes. To this end, this study analyzed the narrative of the 《Bari abandoned》 from the perspective of the transformation and reinterpretation of mythology and the musical arrangement. Through this, it was found that 《Bari abandoned》 is a work that captures the meaning of the present era and provides sympathy to the public while undergoing a modern transformation of oral myths, and allows access to new sounds created through collaboration between traditional music and Western pop music. All 11 tracks in the album are composed according to the order of the narrative of the myth of Princess Bari, realistically depicting and quoting episodes of the myth, or suggesting new interpretations by looking deeply into the inner world of the heroine in the myth. In addition, Pansori and Western pop music were harmonized well according to the taste of the present age.

DIDACTIC PRINCIPLES OF TEACHING TO PLAY THE PIANO FOUR HANDS IN MUSIC SCHOOLS OF CHINA

The article briefly discusses the didactic principles of teaching to play the piano four hands in music schools in China. In particular, the authors consider the development of rhythm and beat, musical hearing and acuity of perception of students, concentration of their performing attention, improvement of the instrument mastery level, work on sound and phrasing, formation of communicative abilities, expansion of the repertoire and experience Прикладные исследования, технологии 117 of stage performances of novice pianists in the context of the Piano Ensemble discipline. It is noted that there is insufficient demand for the educational potential of this discipline in complex piano training in educational institutions in China. Playing the piano four hands is a complementary, mutually supportive, interactive form of performance, whose most distinctive artistic feature is the emphasis on proportionality, balance and unity of musical content as a whole, requiring performers to be precise and coordinate with respect to the tactile sphere, phrasing and subtle changes in intonation.

A Key-Finding Algorithm Based on Music Signature

The paper presents the key-finding algorithm based on the music signature concept. The proposed music signature is a set of 2-D vectors which can be treated as a compressed form of representation of a musical content in the 2-D space. Each vector represents different pitch class. Its direction is determined by the position of the corresponding major key in the circle of fifths. The length of each vector reflects the multiplicity (i.e. number of occurrences) of the pitch class in a musical piece or its fragment. The paper presents the theoretical background, examples explaining the essence of the idea and the results of the conducted tests which confirm the effectiveness of the proposed algorithm for finding the key based on the analysis of the music signature. The developed method was compared with the key-finding algorithms using Krumhansl-Kessler, Temperley and Albrecht-Shanahan profiles. The experiments were performed on the set of Bach preludes, Bach fugues and Chopin preludes.

Enacting music curriculum contextualization in the Philippine K to 12 curriculum: Negotiations, constraints, and mediating forces

This study problematized the K to 12 music curriculum contextualization policy, and the negotiations, constraints, and mediating forces experienced by selected music teachers in formal music education, given the interactions with informal and non-formal music education. This ethnography analyzed the experiences of 12 music teachers in a town with a long-standing community band tradition. Data were gathered through interviews, focused group discussions (FGDs), surveys, and classroom observations conducted over a seven-month period. Framed from the concept of “policy as practice” of music curriculum contextualization, the findings revealed the music teachers’ negotiations: music listening selections, immersion, and integrative teaching strategies; mediating forces: teachers’ policy understanding and music content knowledge; and constraints: standardized examinations and inadequate school music resources. The study concluded that music contextualization policy should consider practice-informed teacher negotiations on the ground, teachers’ mediating forces, and teacher-identified constraints. Recommendations included community dialogue, adaptations of community band practices in class, and a paradigm shift toward student-led learning and assessment.

중학교 음악교사의 원격수업 실행에 관한 질적 연구

Objectives The purpose of this study is to analyze the music teachers’ stories about ‘how to teach regular middle school music curriculum and what to experience’ in the situation of the COVID-19 Pandemic and to suggest the implications for how to improve the online music class.
 Methods Based on the narrative inquiry method, this study focused on exploring the meaning, that is, knowledge, created by collecting stories about non-face-to-face remote classes of middle school music teachers. For this study, three middle school music teachers in Seoul, who are guiding the music curriculum of the revised 2015 curriculum in middle schools, were selected as study participants. Although it was difficult to select research participants for in-depth interviews with middle school music remote classes, the selection of research participants was centered on experienced teachers with a lot of educational experience. In-depth interviews were conducted as a qualitative research method of Hatch, and the results were analyzed.
 Results First, the music teachers said that they taught students music theory and music appreciation-oriented learning contents, one-way online classes, and reduced evaluation. Second, the stories about what music teachers experienced showed the difficulties in the urgent and rough music online class environment, using unfamiliar music platforms and making learning contents and frequently changed academic schedules.
 Conclusions Through this study, we can derive suggestions on how to improve the online music class of middle school music teachers as follows: First, music teachers should enhance technological capabilities for Digital·AI devices. Second, Music teachers should be able to produce music content for feedback and cooperative communication. Third, music teachers should develop evaluation content tools centered on each student's development process.

War, Language and Culture

Summary The article presents the analysis of the changes, which have occurred in the linguistic and cultural public consciousness of the Ukrainians since the Russian invasion into Ukraine on February 24, 2022. The research was conducted based on the results of online survey involving respondents from the educational and cultural spheres (teachers, lecturers, museum and library workers, theatrical and literary workers). The choice of this target group was based on the assumption that this professional group is the most sensitive to any changes in the sphere we aim to study. People employed in culture and education are capable of self-reflection, and, in accordance with their professional functions, they have an obvious intellectual, moral, and ethical influence on society, thus bearing the responsibility for the situation and broadcasting their position and attitude to the linguistic situation and culture. According to the results of the survey, many bilingual informants refuse to use Russian, and Russian-speaking Ukrainians attempt to start speaking Ukrainian by studying it independently or taking courses. The analysis showed that Cancelled Russian culture is a phenomenon relevant not only for virtual space. Negative attitudes towards Russia are transferred to classical Russian literature, to Russian-language music content, and, to a lesser extent, to modern fiction. At the same time, a third of the respondents directly or indirectly approve of the use of taboo (swear) words and expressions in public space. The study makes it possible to understand the dynamics of public attitude and the general vector of linguistic and cultural changes.

Creating musical features using multi-faceted, multi-task encoders based on transformers

Computational machine intelligence approaches have enabled a variety of music-centric technologies in support of creating, sharing and interacting with music content. A strong performance on specific downstream application tasks, such as music genre detection and music emotion recognition, is paramount to ensuring broad capabilities for computational music understanding and Music Information Retrieval. Traditional approaches have relied on supervised learning to train models to support these music-related tasks. However, such approaches require copious annotated data and still may only provide insight into one view of music—namely, that related to the specific task at hand. We present a new model for generating audio-musical features that support music understanding, leveraging self-supervision and cross-domain learning. After pre-training using masked reconstruction of musical input features using self-attention bidirectional transformers, output representations are fine-tuned using several downstream music understanding tasks. Results show that the features generated by our multi-faceted, multi-task, music transformer model, which we call M3BERT, tend to outperform other audio and music embeddings on several diverse music-related tasks, indicating the potential of self-supervised and semi-supervised learning approaches toward a more generalized and robust computational approach to modeling music. Our work can offer a starting point for many music-related modeling tasks, with potential applications in learning deep representations and enabling robust technology applications.

Experiences of First-Year Music Teachers in Hawai‘i During the COVID-19 Pandemic: Challenges, Adaptability, and Implications for Future Music Teaching

The COVID-19 pandemic presented challenges to delivering music content through distance learning, adding to what is often already a stressful and challenging time for first-year educators. The purpose of this study was to explore the experiences of six first-year music teachers who began teaching in Hawai‘i during the COVID-19 pandemic. I interviewed participants twice during the summer after their first year of teaching and collected background information and teaching artifacts. Despite the year’s challenges, the teachers maintained their commitment to teaching. They did note that they felt underprepared for this experience by their undergraduate education and lack of prior teaching experience. Themes suggested the importance of teacher mentors and professional networks for the novice teachers, and that these teachers could have benefited from ongoing support from their preservice teacher education programs. In addition, the experiences of these teachers highlight the importance of adaptability in learning for both students and teachers.

Hearing the Houma

This paper seeks to engage the construction of urban "soundscapes" as a potential flashpoint for class conflict by analyzing auditory and visual representations of "the neighborhood" (al-houma) in a handful of Moroccan hip-hop videos. I begin by situating Moroccan hip-hop within transnationally circulating associations of hip-hop with "urban" life, as well as the political dynamics of North Africa's colonial and postcolonial urban histories. I then analyze four videos comparatively, suggesting that each goes beyond lyrical and musical content of the songs to construct a sensory experience of the city—or neighborhood—for the listener-viewer. In giving attention to the political implications of each video, however, I argue that what distinguishes each is less what sort of "soundscape" emerges in his video but how each video teaches the audience to "hear" the Houma. While videos by mainstream rappers Muslim and Don Bigg figure urban space as threatening and in need of moral recuperation, they enact these pedagogies largely through indexical figurations of their respective soundscapes, that is, by directing the listener to attend to certain (inaudible) sounds and to interpret them in a certain way. By contrast, a video by El Haqed, known as a more staunchly oppositional figure, visually and sonically constructs a peri-urban lifeworld conditioned by neoliberal economic abandonment yet resistant to the postcolonial gaze. This contrast, I suggest, raises crucial questions about how hip-hop is linked to broader dynamics of cultural appropriation and "resistance" politics.

인터넷 환경에서의 대중음악규제 양상: 청소년 유해음반 지정과 해제를 중심으로

In the history of Korean popular music, government regulations and cancellations can be summarized as: the cancelling of banned songs (1987), abolition of the pre-deliberation system (1996), and cancellation of the designation of music as harmful to the youth (2012). A major change after the abolition of the pre-deliberation system (1996) is that the goal of popular music regulation changed to ‘protection of youth’, resulting in the emergence of strong resistance from popular musicians and music listeners.
 In 2012, Psy’s <Gangnam Style> topped the Billboard charts and gained millions of views on YouTube, but <Right Now> (announced in 2010) was designated as a harmful song to the youth due to its alcohol drinking-related expressions, making it difficult for teenagers and foreigners to access. The Ministry of Gender Equality and Family, which is in charge of designation, prepared the detailed standards for deliberation in 2011 to supplement these problems. Furthermore, in 2012, the ministry decided to cancel the designation of 297 songs among those judged as harmful. The cancellation of the designation of music harmful to youth in 2012 was a major event comparable to the lifting of the banned music in 1987 and the abolition of the preliminary review system in 1996.
 The designation of popular music as songs harmful to the youth aroused opposition from many singers and production companies. When <Hands Up> sung by 2PM was designated as a harmful song, strong complaints were raised from fans, and the Ministry of Gender Equality and Family enacted the ‘Enforcement Rules’ for deliberations to be objective. However, despite the ministry’s efforts, Family, opposition to the designation of media as harmful continued. In particular, a series of incidents related to Psy’s <Right Now> occurred in the process of publicizing fans through the internet. In the simple 인터넷 환경에서의 대중음악규제 양상 권정구 59 structure of ‘stars and fandoms’, ‘stars and fandoms and netizens at home and abroad’ were added to expand the scope. Teenagers who prefer internet videos could go beyond PC communication generation and become a strong force of resistance to popular music regulations. As the media environment changes, music producers are proceeding with legal actions against popular music regulations, while music audiences are also expressing their dissatisfaction by attacking the homepage, making complaint calls, and these actions are gradually extending to the younger age group. ‘Youth protection’ is gradually changing from regulation of popular music content to an area that protects participants (singers, performers, etc.).