Music Singing Research Articles

The Demands for Thai Arts and Cultural Activities: A Case Study of Thai People in Lulia, The Kingdom of Sweden

This research aims to 1) study the demands for Thai arts and cultural activities utilizing a case study of Thai people in the city of Luleå, Sweden, totalling 50 people. The result showed that the overall demand for Thai arts and cultural activities is at an extremely high level. The highest demand for Thai arts and cultural activities is traditional Thai dance performances, with an average demand rating of 4.43 (SD = 0.74); traditional Thai music, with an average of 4.42 (SD = 0.73); and traditional Thai craftsmanship also, with an average of 4.42 (SD = 0.73), respectively. 2) Guideline recommendations for organizing Thai arts and cultural activities should include the following activities: traditional Thai craftsmanship, traditional Thai food, regional Thai costumes in four regions, regional Thai dialects in four regions, traditional Thai dance performances, traditional Thai music, traditional Thai folk music/Mo Lam music, traditional Thai classical music singing, the art of decorating in Thai styles, and participation in Thai arts and cultural activities. This quantitative research collects data from a questionnaire of 50 individuals using statistics such as frequency, percentage, mean, and standard deviation.

Some Characteristics in Light Music Performance Towards Sustainable Development in Vietnamese Cultural Identity

Objective: The goal is to introduce readers to the characteristics of pop music performances, to clarify more about pop music singing (mainly Rock-Pop), the differences compared to normal singing, in this article the author wants to introduce some characteristics in the way of performing pop music songs. Method: The study uses two main groups of methods: theoretical research and practical research to evaluate the overall data. In which, the focus is on observation and pedagogical experiments. Results: Research results have shown that, with special attention to novelty, uniqueness, and strong impression on the audience, since its inception, light music (Rock-Pop) has had a special appeal to the audience, especially the young. As a popular music genre, highly entertaining, paying important attention to the cyclical rhythm, often associated with dance music, musical language, singing style, performance, and use of the orchestra of light music have many different characteristics compared to classical music and popular music. Bringing positive values in the sustainable development of Vietnamese national culture Contribution: Understanding the characteristics of singing light music is one of the necessary things for singers and light music teachers at vocal training facilities to promote advantages and limit disadvantages.

Enchanted Backburner: Channeling Taylor Swift and Niki on Cegil Identity

This study chooses a transnational perspective to understand the practice of American culture in Indonesia. As this study discussed identity formed in social media and involved popular music singers, the theories applied in this study are the theories of identity, youth culture, new media, and popular music from the popular culture approach. In examining this study, the content analysis method was applied. After reviewing primary and secondary sources and find suppported theories for the data, it is find that the cegil identity is channeled through Taylor Swift and NIKI’s musicality due to the interconnection of youth culture and new media in treating popular music. The star and stardom of Swift and NIKI influence people's perspectives on their songs. The cegil community likes their lyricism in descriptive, imaginative, and poetic songs. Global access and media allow Spotify and X as the mediums to communicate and participate for cegil to express their feelings. They were also the place where the cegil term was coined. The last factor is a youth culture that treats music as the soundtrack of life and hence sees songs as a medium to express themselves.

Harmony Amidst Change: Revitalizing Guangxi's Intangible Cultural Heritage Music in Higher Education

Guangxi's intangible cultural heritage music culture has a long history, diverse types, and profound connotations. As a precious and primitive ethnic music cultural heritage, Guangxi's intangible cultural heritage can improve the quality of contemporary vocal teaching in professional skills such as music singing, instrument performance, enhance the training quality of national vocal music talents in China, and promote the development of folk music culture in China. However, as the rapid development of modern society, these valuable musical traditions are facing gradual marginalization and oblivion. Based on this phenomenon, this study interviewed four professors and four students in the field of music education, as well as conducted a detailed survey questionnaire on 347 students from four universities in Guangxi (Guangxi Arts University, Guangxi Normal University for Nationalities, Yulin Normal University, and Guangxi University of Foreign Language). The results show that students and educators maintain a strong interest in and a high level of respect for non-heritage music, despite the challenges of the current education system and resource allocation. Students and educators are eager to contribute to the preservation and transmission of this valuable cultural heritage to enhance the aesthetic and artistic sensibilities of university students and improve their musical aesthetic ability. Therefore, through investigation and analysis of the current situation and existing problems of music education in various universities, combined with the important significance of improving the music aesthetic ability of college students, targeted solutions are proposed to effectively improve the music aesthetic ability of music majors in universities.

On the Grasp of Emotion in Vocal Music Teaching

Vocal singing has been a natural expression of human emotions since ancient times. Love is the soul of the song , deeply reproducing the emotional connotation of the music, making the singer and the audience resonate emotionally, is the starting point and destination of vocal music singing, and is also an important aspect to grasp in the vocal music education and teaching in normal universities. Therefore, in vocal music education teaching should run through the singing emotional experience to grasp the spiritual connotation idea.

대중음악의 크로스오버 현상에 대한 연구

Today, vocal music is developing together with the convergence of various singing methods and singing forms of different styles. The crossover phenomenon emerged from this phenomenon and formed plural forms such as crossover of singing method, crossover of style, and crossover of gender. In China, in recent years, music entertainment programs have gained great popularity by presenting colorful crossover singing stages. The singers showed a splendid crossover phenomenon with their thick crossover singing skills and representative works of different styles. The crossover of popular music not only has a profound impact on music culture, but also has brought value that cannot be ignored. In other words, this phenomenon greatly expanded the creativity and expression of art by innovating traditional music and handing down classical music with modern techniques while enriching musical culture. In addition, the level of vocal music education was improved in popular music singing.

Теоретик, композитор, педагог Михаил Березовский и его «транскрипция» трактата Николая Дилецкого

The article is devoted to the Baroque theorist and composer Mikhail Berezovsky. In the scholarly literature, it is already possible to find some references to his musicological treatise consisting of two parts: A Brief Exposition of Musical Singing (elementary music theory) and Grammar. A Collection from Many (theory of composition). We have also discovered Berezovsky’s 12-voice partesny concerto Who shall ascend the Hill of the Lord? Due to filigree research as well as indirect data, the dates of the composition of both works have been established as pertaining to the 1730s. Both of the survived copies of Grammar. A Collection from Many are placed in theoretical manuscripts adjacent to Nikolay Diletsky’s The Grammar of Musical Singing. The comparative analysis of the two Grammars shows, that Berezovsky’s treatise appears to be a concise presentation of Diletsky’s ideas, slightly updated with new information. The same pertains to the terminology of the: it is freed from an excessive amount of Latin synonyms and supplemented by new terms not yet relevant during the time of Diletsky. All the musical examples are newly composed by Berezovsky, and none of them is derived from Diletsky. The comparison of the musical examples with the music of the concerto Who shall ascend into the hill of the Lord? Has made it possible for us to identify a number of correspondences, albeit, not literal ones. The complete text of both parts of Berezovsky’s treatise supplements the article, having been adapted to contemporary Russian, as does a dictionary of terminology. The abridged revised version of Nikolay Diletsky’s The Grammar of Musical Singing, originally written in 1670s, made in 1730s for a new generation of new readers, could be appreciated only as an evidence of a stagnation that occurred in the Russian partesny singing theory. The musical style changed considerably; at the same time, the music theory was progressing at a much more slow pace.

Application of auditory perception technology to multimodal teaching innovations in college music

Abstract This study explores a university music teaching system enhanced by auditory perception technology. It delves into the intricacies of auditory perception technology and its integration with multimodal music education, highlighting the potential applications in university settings. Using short Fourier transform and wavelet transform techniques, the system computes Mel frequency cepstrum coefficients (MFCCs) and first-order differential dynamic music characteristics. These are then utilized to construct the multimodal teaching framework through computer programming languages. The multimodal music teaching system was tested and analyzed using data analysis software. The results showed that the experimental group and the control group produced significant differences (P<0.05) in the four aspects of fluency (0.005), flexibility (0.003), originality (0.001), and the total score of singing skills (0.004) of music singing skills. This study not only enriches theoretical research on multimodal teaching innovations in music but also promotes the development of university music education.

Practice the Technique of Singing Vietnamese Light Music Song for Middle-age Female Voices

Classical chamber music vocal techniques, typically the bel canto singing style, have been shaped with many methodical methods. In our country, several famous vocal pedagogues have compiled and written books on teaching vocal music such as Nguyen Trung Kien and Ho Mo La. Unlike classical chamber singing, currently, in our country, there are no books or unified in-depth research on light music singing techniques. While classical vocal techniques require strictness and the singer must accurately perform every detail recorded in the song, light music is characterized by a fairly free and comfortable way of singing from the mouth, how to vibrate your voice, process sound to express your work... Singers can be creative from their point of view, as long as they create their mark and attract listeners.

Historical Evolution and Cultural Identity of National Dance: Taking Andai Dance as the Research Object

The Andai Dance is a traditional folk dance that spreads in the Horqin area of Inner Mongolia. It has strong local and national characteristics, and the dance style is passionate and generous, fully expressing the true feelings of the Mongolian people. It is a form of expression of national folk art integrated with singing and dancing performance and music singing. This paper profoundly explores and studies the inheritance and development of Mongolian Andai Dance in Horqin Grassland, including the form and characteristics of traditional Andai Dance. Understand the evolution of the movement and function of Andai Dance, let the new Andai Dance inherit the most vivid musical and dance elements of the traditional Andai Dance, protect and inherit the traditional culture, and explore the new development trend of Andai Dance in professional creation, performance, and mass popularization.

대중음악 가창연주론 연구 - 스타일 반영주의를 넘어서

This study theoretically examines singing in popular music. This study defines “style reflectionism” as the view of singing style dominated by structure, system, and norm. Along with criticizing reflectionist view, this study constructs a preliminary theory of popular music singing performance. Singing and vocal style in popular music is more diverse than western classical music, but there is an obvious tendency of convention in each genre’s context. Existing studies on singing focus on interpretation of techniques and music analysis. Hence, it is necessary to reconsider the theoretical approach of popular music singing itself beyond convention as normatizing and representing. Although music studies considering performance and performativity have recently emerged, there remains a gap in the literature. John Potter, a tenor and a scholar, not only theorized singing style but also made a valid approach. Potter’s theory, which covers both traditions of western classical and popular music, explains how specific singing style exercises hegemonic power contemplating sociocultural conditions and structure. However, he schematizes the historical development of style centered on ideology, and does not overstep the limits of style reflectionism. This study reconsider Louis Althusser’s ideas of ideology, subject, and interpellation as constructing the timbral subject (subject of timbre). Furthermore, Roland Barthes’s concept of “the grain of the voice” is also reconsidered. These are useful for building and considering an anti-reflectionist view. Finally, this study argues that the theory of popular music singing performance beyond style reflectionism can be imagined by emphasizing singularity, not in a dominant-subordinate relationship between universality and specificity, which is continuous differentiation of meaning and subjectivity.

Design and Implementation of Impromptu Mobile Social Karaoke for Digital Cultural Spaces in the New Normal Era

Although music singing and sharing is a most common cultural activity, users are not allowed to instantly share their own songs due to fixed streaming and listening services on the music service platforms. In order to deal with instant singing and listening together with other users, this research was conducted to propose a mobile social karaoke system that supports group creation and music sharing via smartphones. The proposed karaoke system consists of a social music cloud that provides impromptu mobile singing and sharing services on the user’s devices. The social music cloud manages a group of users and supports data streaming and message sharing among the users’ devices. The users’ devices enable users to utilize karaoke services based on touch and voice-based natural interfaces in consideration of mobile specifications. After testing the system’s usability and stability, the results illustrated that the voice-based interface was effective in controlling and using the service according to the devices’ mobility and availability. In addition, when karaoke services are utilized in small groups, music transmission/reception is possible without being affected by the number of users. This study has three implications: first, it presented an important possibility for the creation of more active digital cultural spaces and changing mobile life by providing users with a recreation function; second, it provides convenient touch and voice UI for mobile users; and, third, it improves performance and management through its distributed processing.

Retracted: Music Singing Based on Computer Analog Piano Accompaniment and Digital Processing for 5G Industrial Internet of Things

Retracted: Music Singing Based on Computer Analog Piano Accompaniment and Digital Processing for 5G Industrial Internet of Things

Retracted: Analysis of Computer Visualized Sound Parameters of Vocal Music Singing Based on Deep Learning

Retracted: Analysis of Computer Visualized Sound Parameters of Vocal Music Singing Based on Deep Learning

A decolonial analysis of Lolita dressing practice and fashion in Mainland China

Based on ethnographic work performed in Chengdu, China, this article presents a decolonial analysis of Chinese Lolita dressing, criticising the unjustified accusations of catering to paedophilia and escapism. Lolita dressing is a clothing style originating from the Gothic clothing style of rebellious rock music singers in 1990s Japan. Some fashion studies and the mass media tend to place Lolita dressing in the context of a counter-public subculture narrative. However, such a framework is biased due to its Eurocentrism. Eurocentrism appears as origin-centrism in forming two unjustified accusations. The accusation of catering to paedophilia is formed based on its Euro-American etymological origin. The word ‘Lolita’ is inextricably associated with paedophilia in Western culture, which leads the general public, and mass media in particular, immediately to the discussion of Lolita dressing as being an abnormality. The accusation of escapism is based on its Japanese subcultural origin. Japanese Lolita dressing is an intentional refusal of the mainstream expectation of being an adult woman. This directs the discussion of Lolita dressing to youthful escapism from a disappointing reality. These two presumptions are problematic in Chinese Lolita dressing practices. Chinese Lolita dressing practitioners tend to integrate Lolita dresses into their ordinary life instead of using Lolita dresses as a medium to build an imagined identity. For Chinese Lolita dressing practitioners, Lolita dresses are neither abnormal nor counter-public. In short, Chinese Lolita dressing should be positioned as a fashionable clothing category among diverse clothing practices instead of as a subculture or an example of a counter-public rebellion.

Pop Music Singing in Education with Modern Innovative Technologies: How the Chinese Language Shapes the Creation of Popular Singing.

The purpose of this study is to investigate the uniqueness of the pop singing genre by determining the role of the Chinese language in the creation of popular singing in education with modern innovative technologies. The paper began by determining which types of popular music were the most popular among respondents and the influence of modern innovative technologies on music education. The results showed that popular folk music (25%) and popular music (23%) are the most popular genres. This is because they are based on improvisational elements and combine modern and ethnic musical elements with the use of modern innovative technologies. Pentatonic preservation (94.3), modern innovative technologies (91.2), expressive performance (85.6), sound fluidity and mobility (82) and instrumental accompaniment have been identified as the most defining characteristics of contemporary Chinese popular music (78.1). Taking into account how pure and expressive Chinese music is, the study found that singing should take into account the following aspects of the Chinese language: the tonality of vowels, the influence of consonant sounds, the use of sound imitations, the performance of words with different levels of complexity, and the relationship between speech and musical intonation. It has been proven that students in group 1 who studied vocals and were taught the rules for combining phonetic features of language when singing had better results in terms of quality performance (0.83) and expressive performance (0.91). The non-professional singers in group 2 attained scores of 0.62 and 0.85, respectively.

“Sing and make music to the Lord”: cultural difference in South Africa’s urban religious soundscapes

Scholars of contemporary Christianity have long noted the importance of sacred music in constructing faith communities and distinguishing religious actors from one another. Drawing on historical and ethnographic evidence gathered over 16 months in Johannesburg, South Africa, I examine the role of music in contributing to the Christian identity of conservative evangelicals and in mediating their relationship with religious others. For the interdenominational, multiracial network of conservative Christians with whom I worked, music sung during weekly church services was carefully curated to meet elders’ pastoral aims informed by the conventions of orthodox Christian theology, yet it was also a site of tension and innovation as efforts to appeal to wider demographics were implemented. The palpable contrast between this music style and that of more charismatic evangelical churches was a point of implicit social commentary, semiotically standing in for the spectre of dangerous religious difference. This ethnographic research illustrates the power of embodied, sonic “feeling” to maintain cultural boundaries in South Africa’s heterogeneous religious soundscapes.

Research on the Application of Flow Experience in Popular Music Singing Teaching

Research on the Application of Flow Experience in Popular Music Singing Teaching

SYSTEM OF B. TRYCHKOV CONSCIOUS MUSICAL SINGING AS A MEANS OF DEVELOPING STUDENTS’ MUSICAL ABILITIES

The article considers the essence of the system of conscious musical singing “Stolbitsa” (“Ladder”) by the Bulgarian teacher B. Trychkov and names his followers: B. Bochev, P. Boyadzhiev, V. Mirchev, K. Stoykov. The role of the didactic method “Ladder” in the development of the musical abilities of students of secondary schools is revealed. The meaning of the term “ladder” in the Bulgarian translation is explained. It is revealed why B. Trichkov calls his method so. It is shown that they contain visual aids called “Ladder” and what are drawing exercises and diagram exercises. 
 The tasks and forms of work proposed by B. Trichkov in his system according to the age categories of schoolchildren, in particular, first-fourth-grade students, are highlighted. It is indicated what is the most expedient period for “conscious musical singing”. Musical-didactic games are offered, which can be used in this period to stimulate the activity of students during the study of notes. The two main stages of reading the musical text according to the system of B. Trychkov (gradual and abrupt) are analyzed. The order of studying the steps in the process of mastering the scale by the “Ladder” method is indicated.
 Five stages of gradual intonation of scale sounds are described; the role of two-part singing in the “Ladder” system is revealed. The reason for B. Trichkov’s criticism of Western European methods “Tonworth” and “Tonic DO” is explained; the significance of the “Bulgarian ladder” and didactic method “Ladder” in the development of musical abilities of students of secondary schools of Ukraine at the present stage is revealed.
 The research was facilitated by the content analysis of domestic and foreign methodological literature, scientific sources, and periodicals.

Expression in popular music singing as embodied and interpersonal

This article presents theoretical viewpoints for considering and understanding expression in popular music singing and pedagogy from the perspective of embodiment as outlined in Merleau-Ponty’s phenomenological philosophy. In our study, we apply his interpretations of such notions as intentionality, body schema, gesture, reversibility, and intersubjectivity to bring forth and discuss the holistic, embodied, and interpersonal nature of voice expression in singing. We argue that expression should be viewed as an intentional activity, based on the body’s innate mindful functioning as a whole, and in singing guided by the lyrics and emotions to be communicated. We propose that this requires a “free voice”, based on healthy vocal production, that also allows for the immediacy of expression as and through gestures that bring the meaning into existence. We further argue that expression is an interpersonal, interactive, and intersubjective process in which the performer and listener influence each other in many ways. The reversibility of perception in expression means that perception and the object perceived are intertwined and action and perception are interconnected. There is also a gap in reversibility, which implies that the perception of (one’s own) expression is never complete. In addition to our theoretical arguments, we make pedagogical suggestions, such as that the body itself has a lot of understanding ofhowand should be trusted in singing, both in terms of voice production and expression. The expression should not be primarily approached as a technical issue but taught in connection with and through expression. The expression should be viewedfrom the inside out, not the opposite. This means that expression builds on one’s personality and (emotional) experiences.