Music Era Research Articles

AI-empowered consumer behavior analysis for trustworthy track recommendation over musical dance electronic products

—In the digital music era, accurate and trustworthy track recommendations for musical dance electronic products are becoming increasingly important to improve user experiences and attract more consumers. Consumer behavior modeling is critical in user interest learning and has been extensively used in recommender systems to improve recommendation accuracy. This paper proposes a novel AI-empowered consumer behavior analysis method for trustworthy track recommendations over musical dance electronic products. Specifically, we first model consumer behavior by integrating collaborative filtering and a hidden Markov model to capture the key interactive patterns between consumers and musical dance electronic products. Then, we develop a trustworthy track recommendation method based on multi-layer attention representation learning, which leverages scattering transform for audio preprocessing and attention-based independent recurrent neural networks for encoding user preferences and product features. Extensive experiments on real-world datasets demonstrate the superiority of our proposed method in terms of recommendation accuracy and trustworthiness.

The implementation of a proposed deep-learning algorithm to classify music genres

Abstract To improve the classification effect of music genres in the digital music era, the article employs deep-learning algorithms to improve the performance of the classification of music genres. An auxiliary (estimated) model is constructed to estimate the amount of unmeasured data in the dual-rate system to enhance the recognition effect of music features. Moreover, a dual-rate output error model to identify such impacts is proposed to eliminate the impact of corrupt data caused by the estimation, which eventually leads to the further improvement of the proposed model called dual-rate multi-innovation forgetting gradient algorithm based on the auxiliary model. In addition, the article employs linear time-varying forgetting factors to improve the stability of the system, advances the recognition effect of music features through enhancement processing, and combines a deep-learning algorithm to construct a classification system of music genres. The result shows that the classification of the music genre system based on a deep-learning algorithm has a good music genre classification effect.

Classification of Fall Out Boy Eras

This paper explored the use of machine learning techniques to differentiate between two different musical eras of the same rock band, including the technique of Logistic Regression. Logistic regression (LR) is a widely used statistical modeling method for binary classification in supervised machine learning. It is often used to predict whether a given event belongs to one of two categories. The process helps data scientists understand which variables are good predictors of class membership. Applications of logistic regression include loan classification in the financial industry and predicting susceptibility to disease in the medical field. In this particular project, a dataset was constructed using data from Spotify and Genius consisting of songs and lyrics written by the band Fall Out Boy. A logistic regression model was developed from scratch to classify the songs and lyrics into one of two eras of the band: before their 2009 hiatus and afterward. The study aimed to determine if a computer could differentiate between the two eras. The model was also tested against other binary classification algorithms, including Random Forest and Support Vector Machines.

A deep learning-based mathematical modeling strategy for classifying musical genres in musical industry

Abstract Since the beginning of the digital music era, the number of available digital music resources has skyrocketed. The genre of music is a significant classification to use when elaborating music; the role of music tags in locating and categorizing electronic music services is essential. To categorize such a large music archive manually would be prohibitively expensive and time-consuming, rendering it obsolete. This study’s main contributions to knowledge are the following: This article will break down the music into many MIDI (music played on a digital musical instrument) movements, playing way close by analysis movement, character extraction from passages, and character sequencing from movement so that you may get a clearer picture of what you are hearing. The procedure includes the following steps: extracting the note character matrix, extracting the subject and segmentation grouping based on the note character matrix, researching and extracting beneficial characteristics based on the theme of the segments, and composing the feature sequence. It is challenging for the sorter to acquire spatial and contextual knowledge about music using traditional classification techniques due to its shallow structure. This study uses the unique pattern of input MIDI segments, which are used to probe the relationship between recurrent neural networks and attention. The approach for music classification is verified when paired with the testing precision of the same-length segment categorization; thus, gathering MIDI tracks 1920 along with genre tags from the network to construct statistics sets and perform music classification analysis.

Groove as a multidimensional participatory experience

Groove is a popular and widely used concept in the field of music. Yet, its precise definition remains elusive. Upon closer inspection, groove appears to be used as an umbrella term with various connotations depending on the musical era, the musical context, and the individual using the term. Our aim in this article was to explore different definitions and connotations of the term groove so as to reach a more detailed understanding of it. Consequently, in an online survey, 88 participants provided free-text descriptions of the term groove. A thematic analysis revealed that groove is a multifaceted phenomenon, and participants’ descriptions fit into two main categories: music- and experience-related aspects. Based on this analysis, we propose a contemporary working definition of the term groove as used in the field of music psychology: “Groove is a participatory experience (related to immersion, movement, positive affect, and social connection) resulting from subtle interaction of specific music- (such as time- and pitch-related features), performance-, and/or individual-related factors.” Importantly, this proposed definition highlights the participatory aspect of the groove experience, which participants frequently mentioned, for example describing it as an urge to be “involved in” the music physically and/or psychologically. Furthermore, we propose that being immersed in music might be a prerequisite for other experiential qualities of groove, whereas the social aspect could be a secondary quality that comes into play as a consequence of musical activity. Overall, we anticipate that these findings will encourage a greater variety of research on this significant yet still not fully elucidated aspect of the musical experience.

The phenomenon of meta-genre in music era of Modernism and Postmodernism

Statement of the problem. Objectives, methods, and novelty of the research. The purpose of the study is to distinguish the concept of meta-genre as a phenomenon that is in transgressive relations with the academic system of musical genres. The topicality of the study is due to the need for a scientific understanding of the evolutionary processes of genre creation, in particular, the practice of genre metamorphoses, unique authorial genre solutions, which give rise to the phenomenon of “meta-genre” that should be understood as a conscious departure from the academic tradition towards the semanticization of what or another genre invariant. Methodologically, the research relies on the latest developments in the theory of musical genres regarding the semantic load of genre invariant as a type of content and certain principles of its structuring, and also uses a philosophical and cultural approach. An innovative aspect is that the phenomenon of meta-genre is considered as the result of synergistic thinking, which relies on a metaphysical scientific picture of the world and thus ensures the uniqueness of the author’s genre-philosophical concept. Research results and conclusion. It is summarized that the approach to genre-creating algorithms presented by the music of the Modernism and Postmodern era reveals intentions of a transgressive breakthrough beyond the established academic system of musical genres, but at the same time continues the tradition of semantic structuring of a phenomenon of the “genre”. It is possible to ascertain the almost inexhaustible resource potential of meta-genre as a category, which allows composers to more fully express their intentions. After all, it expands the possibilities of understanding the surrounding reality by the means of musical art, building philosophical concepts, the “decoding” of which requires the activity of perception and intellectual efforts from everyone who turns to a musical work, presenting the unique challenges in researching and interpretation of musical texts.

The Comeback of the Medium: The History and Contemporary Revival of the Vinyl Record Industry

As an important vehicle in the development of music and recording art, vinyl records have gone through a series of journeys from birth, and development to decline over the past hundred years. However, in recent years, the industry has seen a resurgence and has been called a “renaissance” in the digital music era by some scholars and media practitioners. This paper explores the historical changes and market evolution of the vinyl record industry since its birth, and focuses on the industrial situation, reasons for the revival, characteristics, and future development expectations of the industry during the contemporary “revival” period, in an attempt to explore the artistic value positioning of vinyl records in different periods, and the relationship with the technology and audience psychology of the times, in order to gain useful insights for art communication and its industrial marketization.

The travestire tradition in the operas by G. F. Handel in the aspect of gender approach (on the example of interpretations of Ariodante’s part)

Formulation of the problem. An analysis of the interpretations of the Ariodante part from the opera of the same name by G. F. Handel through travestire traditions and their incarnations within the modern theatre is offered, which is a relevant perspective for the study of theatrical compositions of the Baroque era. Analysis of recent research and publications. The article is based on the research of the Baroque musical era in the aspects of aesthetics (Calella, Lewis) and performance (Brittain, Oganezova-Grygorenko), the creative work of G. F. Handel (Hogwood, Dean, Dean and Knapp, Cherkashyna-Gubarenko), the study of performing versions through the positions of gender theory (GigolayevaYurchenko), interpretology (Nikolaievska). The purpose of the article is to formulate the principles of genderinterpretative analysis and apply it to the performing versions of Ariodante’s parts from G. F. Handel’s opera «Ariodante». The scientific novelty of the article. is related to the parameters of the genderinterpretative approach involved in the study of the embodiment of Ariodante’s part from the opera of the same name by G. F. Handel. The research methodology. The interpretative approach and the concept of «the performing strategy» (Y. Nikolaievska), in particular – «protective», «modelling», «updating»; gender approach (designed for the specifics of vocal performance by V. Gigolayeva-Yurchenko (in particular, a model of genderperforming analysis aimed at identifying «gender roles», «gender stereotypes», such features as «masculine/feminine type of performance», «gender-performing modulation») have been used; the author’s gender-interpretative approach has been proposed. Results. The travestire tradition has been analysed as a certain performing format that was quite widespread in the opera art of the 17th–18th centuries and continued to exist in later times, being embodied in various forms in other arts: ballet, dramatic theatre, cinematography, and spectacular mass culture. The factors determining the use of travestire are singled out and divided into two groups: 1) related to the historical and cultural norms of the era; 2) determined by specific artistic tasks of the author/director. When analysing the interpretations of the image of Ariodante, masculinity is marked in the embodiment by Sarah Connolly, Anne-Sophie von Otter (appearance, mannerisms, stage movement, timbre of voice), femininity – in the version of Ann Hallenberg (sonorous, bright, light timbre, «feminine» plasticity of movements), androgenicity – in the interpretation of Vesselina Kasarova, Ch. Bartoli (balance of masculinity and femininity traits through voice operation from light, feminine one, to thick, dark low, masculine, presence of men’s and women’s clothes, etc.). Conclusions. The gender-interpretative analysis carried out on the example of the travestire tradition and clearly revealed in the interpretation of Ariodante’s part (performed mainly by women) made it possible to propose a genderinterpretative model as a cognitive structure that should fix the gender markers of the historical tradition and modern performance. Thus, in a stable communicative system, the composer forms a tradition, a role, an affect (a stable complex of expressiveness) and as a result – an established gender type. The director works with the given affects and roles, but can resort to gender modulation. The performer, due to the chosen performing strategy and a set of means for achieving affect, the transformation of timbre-role, represents a mobile gender type (embedded gender stereotypes can be accentuated, as well as change to the opposite). The predominance of female incarnations of the image of Ariodante made it possible to single out all varieties of gender types with an emphasis on femininity/masculinity/androgenicity, which really makes the modern performance-stage process multivariate for the listener.

The collaborative pianist – Skills and excellence

This article aims to conduct a study on the skills of the collaborative pianist. His role changed during centuries, in terms of requirements and deeply understanding of the repertoire. He became equal to the soloist, especially after 1770, with the arrival of the fortepiano. The keyboard’s importance has increased in the Classical period. Aspects of technique and interpretation highlighted the capacity of a performer. This study refers to the accompanist as a complex figure, with functional pianistic skills, being able to differentiate types of accompaniments, the attributes of different musical eras and sight-reading capabilities. The analysis plays a very important role in the development of the collaborative pianist. For guiding the musical interpretation of a piece, aspects regarding style, musical form and character of the chosen repertoire lead to a deeply analysis and continuous learning in the accompanist career. Excellence in performance, especially when it comes to an ensemble, can be obtain through a list of steps, starting with solving the technical problems, analysis and understanding the meaning of music, the collaborative pianist being the complete musician.

Music Classification Method Using Big Data Feature Extraction and Neural Networks.

From the cassette era to the CD era to the digital music era, the quantity of music has grown rapidly. People cannot easily search for the desired music without classifying enormous music resources and developing a successful music retrieval system. By examining users' historical listening patterns for personalised recommendations, the music recommendation algorithm can lessen message fatigue for users and enhance user experience. Relying on manual labelling is how traditional music is classified. It would be inefficient and unrealistic to attempt to classify music using manual labelling in the age of big data. Feature extraction and neural networks are the tools employed in this paper. The model's parameters can be trained using conventional gradient descent techniques, and the model's trained convolution neural network can learn the image's features and finish the extraction and classification of the features. This algorithm is 12 percent superior to the conventional algorithm, according to the research in this paper. It has strong ability and is appropriate for widespread implementation with the same number of iterations.

Research on Music Classification Technology Based on Deep Learning

With the advent of the digital music era, digital audio sources have exploded. Music classification (MC) is the basis of managing massive music resources. In this paper, we propose a MC method based on deep learning to improve feature extraction and classifier design based on MIDI (musical instrument digital interface) MC task. Considering that the existing classification technology is limited by the shallow structure, it is difficult for the classifier to learn the time sequence and semantic information of music; this paper proposes a MIDIMC method based on deep learning. In the experiment, we use the MC method proposed in this paper to achieve 90.1% classification accuracy, which is better than the existing classification method based on BP neural network, and verify the music with its classification accuracy. The key point is that the music division method used in this paper has correct MC efficiency. However, due to the limited ability and time involved in the interdisciplinary field, the methodology of this paper has certain limitations, which still needs further research and improvement.

Parsimonious graphs for the most common trichords and tetrachords

Parsimonious transformations are common patterns in different musical styles and eras. In some cases, they can be represented on the Tonnetz, Cube Dance, Power Towers, or the central region of an orbifold, mainly when they only include the most even trichords and tetrachords. In this paper, two novel graphs, called Cyclopes, are presented, which include more than double the number of chord types in previously published graphs, thus allowing to represent a larger musical repertoire in a practical way. Apart from parsimonious transformations, they are also especially suitable for representing trichords a major third apart, tetrachords a minor third apart, and the cadences V7–I(m) and II–V7–I(m) with major or minor tonic chords. Therefore, they allow to clearly visualize the relationship among the corresponding chords and better understand those patterns, as well as being efficient mnemonic resources, all of which make them useful tools both for music analysis and composition.

Exploring Changes in the Emotional Classification of Music between Eras

ABSTRACT Prior work has noted changes in musical cue use between the Classical and Romantic periods. Here we complement and extend musicological findings by blending score-based analyses with perceptual evaluations to provide new insight into this important issue. Participants listened to excerpts from either Bach’s The Well-Tempered Clavier or Chopin’s 24 Preludes – historically important sets drawn from distinct musical eras, with 12 major and 12 minor key pieces each. Participants selected one of five categories for each piece, adapted from previous musical analyses exploring historical changes in music’s cues. Combining participant classifications with score-extracted cues offers a useful way to complement and extend previous work exploring changes in the function of mode across musical eras based only on notational information. In doing so, we find evidence that changing associations of cues in the Romantic era influence judgments of affective meaning. This study provides a useful step toward bridging the divide between traditional approaches to musicology, music theory, and music perception by combining perceptual evaluations with cues extracted from musical scores to shed light on changes in musical emotion across eras.

Maidens, flirts and seducers

This paper discusses the objectification of women’s bodies in the discursive regularities present in the musical compositions of Chiquinha Gonzaga, a late nineteenth and early twentieth century composer from Rio de Janeiro, Brazil. Guided by Foucauldian discourse analysis, the paper argues that enunciations emerging from Gonzaga’s songs are triggered by the devices of sexuality, racial whitening, resistance, confession and marriage. Based in a musical discourse that references women with terms such as maiden, seducer, flirt, tasty and mulatto, these enunciations are demarcated by hierarchies of gender, ethnicity and social class. Even though the enunciations under investigation are associated with a particular musical era in Rio de Janeiro’s history, they are not far removed from dominant enunciations about women in contemporary Brazil. This suggests the difficulty of breaking away from representations that subjugate women, particularly when the patriarchal power relations that enabled these representations remain prominent.

Concerto and Its Transformation in Claudio Monteverdi’s Madrigals

Issues of style, comparisons of approaches of different composers to the genre, and particular atmosphere of Mantua lie in the core of numerous studies of Monteverdi’s madrigals. At the same time, the appearance of concerto in the madrigal and changesin its interpretation during the first half of the seventeenth century are among the less studied aspects. This determines the main aim of the article: to analyze the formation of the modern understanding of a concerto in Monteverdi’s madrigals. Modification of the meaning of a concerto was a prolonged process. It took almost one hundred and fifty years to change the understanding of concert: fromsimple acknowledgement of integration of vocal and instrumental lines are combined with an accent on solo and up to the contrastingof two groups which differ in their technical and emotional complexity. The strengthening of the role of the concerto principle in madrigals and modifications of its meaning are connected both with the desire to most accurately convey the mood of the poems in music, and with the consequent need for the new timbre combinations and depth of contrasts. As the expressiveness of the solo augments, in particular due to the growth of virtuosity and, as a consequence, a brighter setting off against other performers and/or instruments, the modern understanding of a concerto develops. A concerto becomes an innovative way to personify musical material and to bring a touch of rivalry into the madrigal thanks to the contrasts on different levels. The ancient foundation of the madrigal does not impose limitations on the creative imagination of the composer but constitute the basis for a renewed genre that reflects the beginning of a new musical era.

Ombak Gong (A Study on the Aesthetic of Javenaese Gamelan Gong Accoustic in the Digital Music Era)

The art of gamelan in Javanese culture contains aesthetical, ethical, and historical elements. The aesthetical element or the beauty of gamelan art reflects the common artistic principle dulce et utile which means entertaining and valuable. The creative activities of each artist is distinct. In other words, artists are able to create new modes in an artistic expression. Art does not only enrich psychological well-being but also serves as a media to communicate culture to the society. Gilbert Chesterton stated that the development of science and arts is inseparable. Whereas science studies the generic aspect of a physical form of something, arts deal with a more private matter that is the unique and solitary human. The ombak gong tuning system has become the unique characteristic of the accoustic tuning system of the gong instrument in Javanese gamelan in the current digital music era.
 Keywords: ombak gong, aesthetic of accoustic, digital music

TRANSMEDIAL (R)EVOLUTION: {SinOsc.ar(400, 800, 0, 0.1)multisensory.experience}.play;

The digital revolution and technology has led us towards a more intimate understanding of the acoustic instrument and its sound. What was the modern piano for Chopin was a tape recorder for Schaeffer. Today, there is little distinction between the sounds of acoustic, natural or electronic. In this paper I describe the shift of musical perception throughout recent technological developments. My starting point of exploration is the spectral attitude of 1979, which inspired further sonic evolution and changed our perception of the sound, performance and instrumental body or instruments, as well as introducing the computer as an essential instrument for composing. Further, I highlight the importance of software and discuss the ways in which software-generated musical ideas can incite human creativity and influence a post-digital vision of gesamtkunstwerk. The evolution of hybrid instruments and real-time audio-visual interactive software has led to changes in temporal freedom and created a multisensory experience. I explore how this transmission breaks down the barriers and limitations of the human creative mind and discuss how this can potentially lead to the new musical era. Finally, I reveal some art experiments within the concept of transmedial composition in recent times.

Automatic Music Generator Using Recurrent Neural Network

In this paper, we developed an automatic music generator with midi as the input file. This study uses long short-term memory (LSTM) and gated recurrent units (GRUs) network to build the generator and evaluator model. First, a midi file is converted into a midi matrix in midi encoding process. Then, each midi is trained on a single layer and double stacked layer model of each network as a generator model. Next, classification model, based on LSTM and GRU, are trained and chosen as an objective evaluator to analyze the performance of each generator model which classify each midi based on its musical era. Subjective evaluation is conducted by an interview with volunteer respondents with various backgrounds such as classical music interest, performance, composer, and digital composer. The result shows that the double stacked layer GRU model perform better to resemble the composer pattern in music with 70% score of recall. Moreover, subjective evaluation shows that the generated music is listenable and interesting with the highest score of 6.85 out of 10 on double stacked layer GRU.

Bits and Pieces: A History of Chiptunes, by Kenneth B. McAlpine

<i>Bits and Pieces: A History of Chiptunes</i>, by Kenneth B. McAlpine

The Time-Space Dimension in mass and multifigure scenes of “Manon Lescaut” by G. Puccini

The Time-Space Dimension in mass and multifigure scenes of “Manon Lescaut” by G. Puccini