Field Of Music Research Articles

Review essay: Between the Material and the Ephemeral

Review essay: Between the Material and the Ephemeral

Interview with Gordon Henry

Gordon Henry is an enrolled member of the White Earth Anishinaabe Nation in Minnesota and professor of American Indian Literature, Creative Writing and the Creative Process in Integrative Arts and Humanities at Michigan State University. He is the author and co-editor of many books and collections, including The Failure of Certain Charms: And Other Disparate Signs of Life (2008). His novel The Light People (1994) won the American Book Award from the Before Columbus Foundation. Following some of the stages in his career and personal story, which he kindly accepted to share with me, this interview highlights some of the crucial key issues concerning Native American people and cultures, questions that still need a wider transnational space both inside and outside academia. Discrimination based on language has influenced the history of Native American people for centuries, starting from the forced education of the young in the 19th century and continuing in the 20th, in the context of Hollywood film productions. Linguicism, language-based racism (Phillipson 1992), is a topic that needs to be addressed in the light of the recent flourishing of extremist thought worldwide, which carries the abused rhetoric of ‘us vs them’ (van Dijk 2015) and, at the same time, spurs protest movements. This reflection goes hand-in-hand with the controversial topic of the appropriation of Native American cultural practices by old and new wannabes (non-people who are so much fascinated by Native American cultures that end up imitating them by, for example, choosing a Native name or emphasising certain aspects of the culture which they admire, often basing their beliefs on stereotypes), whilst people living in the Reservations are still neglected and the Native American and Alaskan Native population register extremely high suicide, homicide and alcoholism rates compared to the U.S. all races population (especially women). But, the efforts and educational programs aimed to preserve languages and cultures (like the Lakota Language Consortium or the Rosetta Stone Endangered Language programs), the vibrancy of the artistic scene in the visual, literary and music fields, the various forms of activism and community engagement projects (such as, for example, the MMIWG movement – Missing and Murdered Indigenous Women and Girls – the water protectors protest at Standing Rock, known as #NoDapl, or the prayerful journey called Run4Salmon in California) are also to be acknowledged as milestones in the process of regaining self-sovereignty by Native people. Against the background of these considerations, I am pleased and honoured to share thoughts, feelings and emotions with Gordon Henry.

Analysis of academic studies on mobile technologies in the field of music education in Turkey

The problem of this study is determining what types of studies involving mobile technology in the field of music education are carried out in Turkey and the analysis of these studies. The main objective of the study is to evaluate the mobile technology studies conducted in the field of music education in Turkey. The data obtained in the study were visualised using tables and the answers to the research questions were sought. From the data obtained in the study, it was observed that there were no scientific publications about mobile technologies in the music field before 2004. In line with these findings, it can be said that the number of academic studies on mobile technologies in music education has increased gradually in recent years. It has been suggested to increase the number of these studies and to implement music education programmes where music education processes are carried out with modern learning models.
 
 
 Keywords: Mobile learning, mobile technologies, music education, academic studies, Turkey.

3D-DCDAE: Unsupervised Music Latent Representations Learning Method Based on a Deep 3D Convolutional Denoising Autoencoder for Music Genre Classification

With unlabeled music data widely available, it is necessary to build an unsupervised latent music representation extractor to improve the performance of classification models. This paper proposes an unsupervised latent music representation learning method based on a deep 3D convolutional denoising autoencoder (3D-DCDAE) for music genre classification, which aims to learn common representations from a large amount of unlabeled data to improve the performance of music genre classification. Specifically, unlabeled MIDI files are applied to 3D-DCDAE to extract latent representations by denoising and reconstructing input data. Next, a decoder is utilized to assist the 3D-DCDAE in training. After 3D-DCDAE training, the decoder is replaced by a multilayer perceptron (MLP) classifier for music genre classification. Through the unsupervised latent representations learning method, unlabeled data can be applied to classification tasks so that the problem of limiting classification performance due to insufficient labeled data can be solved. In addition, the unsupervised 3D-DCDAE can consider the musicological structure to expand the understanding of the music field and improve performance in music genre classification. In the experiments, which utilized the Lakh MIDI dataset, a large amount of unlabeled data was utilized to train the 3D-DCDAE, obtaining a denoising and reconstruction accuracy of approximately 98%. A small amount of labeled data was utilized for training a classification model consisting of the trained 3D-DCDAE and the MLP classifier, which achieved a classification accuracy of approximately 88%. The experimental results show that the model achieves state-of-the-art performance and significantly outperforms other methods for music genre classification with only a small amount of labeled data.

A Short Research on the use of Selectional Restriction Violations among Lyrics

Songs, along with poetry, short stories, novels, and dramas, belong to the language of humanity (literary language). As an art form that began to be popular in the last century, it has come into the view of linguists more frequently today.Between its lines, vivid expressions such as “city can sleep”, “animals can talk to each other” and “memory can dance” often appear. This abnormal writing skill refers to a unique linguistic phenomenon ------ Selective Restriction Violation(SRV) explained by Noam Chomsky and is often associated with “metaphor” according to generative grammarians and cognitive linguists. In this research article, 10 representative sentences from popular musics’ list in recent years were selected in order to explore more about this phenomenon in music field. After a detailed analysis, it is found that it appears frequently and The author prefers to use the technique of “replacing concrete nouns with abstract nouns”(9 from all 10 sentences) although it is a special linguistic phenomenon. The underlying reason for writing in this way might be that metaphorical expressions can not only make the sentence more vivid, but also help readers more accurately understand the ideas which authors want to express.

Application and Practice of Capstone Design Education Program for Fostering Convergence Talents in the Classical Music Field

캡스톤 디자인 수업은 졸업 후 산업 현장에서 부딪힐 문제들을 학생들 스스로 문제 정의, 해결, 평가하는 과정을 실습하는 교과목으로 4차 산업혁명시대의 창의융합인재를 양성하기 위해 주목받고 있는 교수 방법 중의 하나이다. 그러나 주로 공과계열 중심의 산학 연계형 프로그램으로 활용되면서 예술 분야, 특히 기능위주의 교육과정에치우쳐 있는 클래식 음악분야에서는 그 필요성에도 불구하고 아직까지 캡스톤 디자인 교과목의 운영, 성과 사례가많지 않은 상황이다. 이에 본 연구는 예술융합인재 개발을 위해 개설된 성결대학교 음악학부의 ‘캡스톤 디자인’ 교과목의 사례를 통하여 예술대학의 캡스톤 디자인 프로그램의 적용가능성을 탐색하고자 한다. 본 연구자가 교수자로 참여한 2020년 8월~2021년 2월까지의 캡스톤 디자인 수업의 기획과정과 본 수업, 학생과 교수자의 사후 인터뷰를 통해 음악학부에서의 캡스톤 디자인의 긍정적 측면과 한계, 개선점을 분석하였다. 분석 결과, 첫째, 음악적재능을 가진 학생들이 공연 기획이라는 분야와 융합하면서 현실적으로 활용가치가 높은 교과목이었다. 둘째, 졸업연주회와 맞물리면서 협업하는 시간의 부족과 일정의 혼선이 있었지만 사전에 실습의 기회를 늘릴 수 있었고 무대에 대한 이해를 얻을 수 있었다. 셋째, 자기홍보전략, 자기 브랜드화 전략, 인터뷰 기술 등 개인의 가능성을 새롭게 발견하고 졸업 후 대처할 수 있는 보다 현실적인 교육이었다. 그러나 문제해결학습(PBL)을 위한 자발적 학습에대한 학생들의 이해와 경험이 부족하여 수업을 내실 있게 운영하는데 시간이 많이 소요되었고, 학생들에게 다른분야에 대한 문헌적 이해, 경험적 이해가 절대적으로 부족하였다. 따라서 음악학부 교육과정 내에서 공학, 인문학수업의 연계 뿐 아니라 문화예술 공연의 트렌드와 같은 다양한 수업의 개설이 병행되어야 한다. 또한, 교수자들은학생들이 지원할 수 있는 분야를 잘 안내하거나 조성하여 수업 결과 발표가 끝난 후에도 지속적으로 학생들이 연구하고 관심을 가질 수 있도록 연계하는 방안이 고려되어야 한다. 앞으로 음악학부를 비롯한 예술학부 학생들의창의적인 아이디어가 실제 문제에 적용되어 구현될 수 있도록 하고 적절한 환경 개선과 함께 캡스톤 디자인이 활성화 된다면 예술대학의 교육과 취업의 연계성을 강화시키는데 기여할 수 있을 것이다.

Music Pedagogy in Costa Rican Higher Education: A Critical Approach towars the Decolonization of Teaching-Learning Processes

This text aims at generating a critical review of the pedagogical model that has prevailed in Costa Rica for music education, especially since the so-called cultural reform in the early 1970’s. In the search of alternative educational models, these reflections take stand from a critical perspective to propose a pedagogical epistemology free from the oppressive conditions still found in the Costa Rican music field.

The National Common Core Curriculum in Brazil: the power of knowledge linked to music

ABSTRACTThis article addresses the National Common Core Curriculum in Brazil, focusing both on its Introduction and the sections dedicated to music teaching. The paper draws on contributions from broad critical curricular perspectives, arguing for the access to powerful knowledge as a means of achieving social justice and democratic social relations. It outlines some aspects of an ongoing qualitative research project, which investigates the recent curricular debates about the consistent inclusion of music in the primary and secondary levels of schooling in Brazil. Preliminary results suggest that the Base Nacional Comum Curricular (BNCC) relying on the development of pragmatic and generic competencies, is very far from promoting access to the pivotal epistemic structures of the discipline. At the same time, we hope to raise awareness about the potential powers provided by musical knowledge, which might help the Brazilian music education field to strengthen its curricular and epistemological bases.

Ojú l’ọ̀rọ̀ọ́ wà: The Praise Gaze in Oríkì Performance

Living traditions of praise-singing are found throughout sub-Saharan Africa, bridging orality, literacy, digital media and the internet. The transcribed text has been the primary focus of scholarship on African oral traditions. Because of the growing number of digital audiovisual recordings available on streaming and social media platforms, it is possible to analyse more modalities of praise- singing. Along with fieldwork observations, this article reports on a multimodal analysis that was applied to music videos and field recordings to study the role of gaze in oríkì, or praise poetry, a cultural phenomenon amongst Yorùbá speakers of West Africa. The Yorùbá proverb “Ojù l’òṛ òó ̣ wà” suggests that “the meaning of the words is in the eyes of the speaker”. Although scholars have addressed the visual imagery included in oríkì texts, to date, no scholar has made gaze the focus of a research study on praise-singing performance practice. To theorise the praise gaze, the analysis drew on a small but growing body of psychological literature on gaze in Western music (and Indian classical music) and, also, participant-observation. Research has shown that the direction of the performer's head, face and eyes plays a role in the reception of Western concert music. However, in praise-singing traditions, such as oríkì, gaze plays a more important role where the singer looking at the addressee identifies the focal point for the audience. If the addressee returns the gaze, forming a mutual gaze, this is likely to increase the “head-swelling” effect of the praise. These preliminary findings on the topic of gaze in praise-singing, specifically Yorùbá oríkì, are intended to be a basis for further research on a central aspect of performance practice in sub-Saharan Africa. It is expected that as research on this topic expands, variation and nuance in the gaze modality will be revealed.

Pelanggaran Hak Cipta Musik Berbentuk Cover Song di Media Sosial

The purpose of this study: 1) To find out copyright violations in the field of music in the form of a cover song by recording through social media connected with Law Number 28 of 2014 concerning Copyright. 2) To find out the factors that influence copyright violations in the music field in the form of cover songs by recording through social media. The writing of this thesis uses a statute approach, by reviewing amendments to Law Number 28 of 2014 concerning Copyright and its implications for copyright and its implementation by state institutions and the Republic of Indonesia Law No. 19 of 2016 concerning Amendment of Law Number 11 Year 2008 Regarding Information and Electronic Transactions. Results of research conducted by the author: When someone does a cover song through social media without permission from the creator, both for the purpose not for commercial or commercial purposes, it is an infringement of copyright. Factors that influence the occurrence of violations of copyright in Indonesia include: 1) Weak law enforcement against violators. 2) Works on the internet can easily be duplicated and disseminated globally in a short period of time and in large quantities. 3) There is no limit on the place of the offender because a domain name or website can be accessed by anyone globally. 4) Procedures for events between countries in dealing with violations of copyright on the internet, such as to determine who the perpetrators are and when they occur and determine the jurisdiction of violations still vary.

Pelanggaran Hak Cipta Musik Berbentuk Cover Song di Media Sosial

The purpose of this study: 1) To find out copyright violations in the field of music in the form of a cover song by recording through social media connected with Law Number 28 of 2014 concerning Copyright. 2) To find out the factors that influence copyright violations in the music field in the form of cover songs by recording through social media. The writing of this thesis uses a statute approach, by reviewing amendments to Law Number 28 of 2014 concerning Copyright and its implications for copyright and its implementation by state institutions and the Republic of Indonesia Law No. 19 of 2016 concerning Amendment of Law Number 11 Year 2008 Regarding Information and Electronic Transactions. Results of research conducted by the author: When someone does a cover song through social media without permission from the creator, both for the purpose not for commercial or commercial purposes, it is an infringement of copyright. Factors that influence the occurrence of violations of copyright in Indonesia include: 1) Weak law enforcement against violators. 2) Works on the internet can easily be duplicated and disseminated globally in a short period of time and in large quantities. 3) There is no limit on the place of the offender because a domain name or website can be accessed by anyone globally. 4) Procedures for events between countries in dealing with violations of copyright on the internet, such as to determine who the perpetrators are and when they occur and determine the jurisdiction of violations still vary.

Music Index with Full Text

Music Index with Full Text is an expansion of Music Index (formerly The Music Index Online), an EBSCO music periodical database that provides comprehensive coverage of the music field from 1970 to the present. Over 800 journals are indexed, and coverage includes various music styles and topics. Music Index with Full Text has added full text journal coverage from approximately 200 journals.The EBSCO interface is familiar to many users and offers easy integration with other heavily used music databases, such as RILM and RIPM. While the sheer size of citations and variety of music materials and styles is beneficial, Music Index might not be as useful to researchers focusing purely on historical music scholarship. The addition of full text journals is welcome, but the content of the journals varies widely in scope and content.

ВЫДАЮЩИЕСЯ ДЕЯТЕЛИ ОПЕРНОГО ИСКУССТВА КРАСНОЯРСКА: ЛАРИСА ВЛАДИМИРОВНА МАРЗОЕВА

The study of the culture of various regions of Russia, including the musical culture of Siberia, is one of the intensively developing areas of modern russian art history and cultural studies. The history of the formation and development of the musical culture of Krasnoyarsk - one of the largest siberian centers — is a multi-faceted picture, already meaningful in a number of fundamental works, a series of scientific publications. At the same time, not all aspects of the musical life of Krasnoyarsk received comprehensive coverage, many of its pages are waiting for their researcher. The article presents the milestones of the creative biography of an outstanding singer, Honored Artist of Russia, professor of the Siberian State Institute of Arts named after Dmitry Hvorostovsky — Larisa Vladimirovna Marzoeva, whose name is known today far beyond Siberia. The focus of the author of the work is the way of becoming a talented artist, teacher in the musical and theatrical field, coverage of the activities of an outstanding person in the field of opera art. A talented graduate of the Leningrad State Conservatory named after N.A. Rimsky-Korsakov in 1978, at the invitation of the leadership, chooses a career in the only opening Krasnoyarsk State Opera and Ballet Theater (now bearing the name of the famous fellow countryman, baritone Dmitry Alexandrovich Hvorostovsky), the Siberian Theater has become a true "alma mater" for the singer, and her multifaceted creative activity has largely determined the development of opera art and marked an important milestone in the musical and theatrical life of Krasnoyarsk in the last third of the 20th — first quarter of the 21st century. The work presents materials of Krasnoyarsk periodicals and interviews with L.V. Marzoeva, on the basis of which the singer's contribution to the cultural life of Krasnoyarsk is analyzed, the results of her creative activities covering performing, pedagogical, musical and educational work are summed up.

THE INSTRUMENTALISED CONDUCTOR

AbstractThis article explores ways in which artistic directors and composers of new music ensembles have developed and redefined the role of the conductor to achieve specific goals and fulfil musical and artistic need. It will explore various manners in which they have instrumentalised the conductor – literally an embodied role – and opened new possibilities for musical expression. The analysis and examples provided will rely for the most part on material gathered during in-depth interviews conducted with artistic directors, composers, conductors and musicians who are professionally active in the new music field in Europe and beyond. The article endeavours to bring into greater detail artistic and socio-economic motivations for utilising conductors in new music ensembles.

Music Feature Classification Based on Recurrent Neural Networks with Channel Attention Mechanism

With the advancement of multimedia and digital technologies, music resources are rapidly increasing over the Internet, which changed listeners’ habits from hard drives to online music platforms. It has allowed the researchers to use classification technologies for efficient storage, organization, retrieval, and recommendation of music resources. The traditional music classification methods use many artificially designed acoustic features, which require knowledge in the music field. The features of different classification tasks are often not universal. This paper provides a solution to this problem by proposing a novel recurrent neural network method with a channel attention mechanism for music feature classification. The music classification method based on a convolutional neural network ignores the timing characteristics of the audio itself. Therefore, this paper combines convolution structure with the bidirectional recurrent neural network and uses the attention mechanism to assign different attention weights to the output of the recurrent neural network at different times; the weights are assigned for getting a better representation of the overall characteristics of the music. The classification accuracy of the model on the GTZAN data set has increased to 93.1%. The AUC on the multilabel labeling data set MagnaTagATune has reached 92.3%, surpassing other comparison methods. The labeling of different music labels has been analyzed. This method has good labeling ability for most of the labels of music genres. Also, it has good performance on some labels of musical instruments, singing, and emotion categories.

Research and Practice of Search Engine Technology in Mobile Internet Music Field

With the continuous progress of global information construction, massive text information and multimedia information can be retrieved and used on the Internet, and music, as an important part of multimedia, has a huge amount of information. Music is a kind of art, which expresses people’s thoughts and feelings and reflects real life through the artistic image formed by organized music. Music is not only an art, but also a social phenomenon of human beings, which is produced with the appearance of human beings. In order to optimize the music search experience of mobile Internet users, new requirements are put forward for the performance of search engine, search precision and recall, and timeliness of update. The classification of music files in the existing Internet music library is only based on the superficial text information such as style, age, creator, etc., without considering the influence of music on human emotion. In order to improve and solve these two problems, this paper proposes a semantic based music retrieval.

Profil Lagu untuk Anak Usia Dini

Music is positioned as an empty time filler in the lesson plan and there is still the fact that music is also only for entertainment. Meanwhile, in several studies it has been proven that music has a supporting role in stimulating children's development. The research method used is qualitative, narrative type, scientific report type. Sources of research data are field observations, children's development books, music books for children, research articles about the effectiveness of the music field. The validity of the data was done by matching the facts in the field with related books and articles. The results of the study: 1) Language development in early childhood has appeared at the age of 18 months, namely children behave in arranging two words which will increase with the age of the child, 2) Rhythm at sukat 2/4 is highly recommended to use a tempo of 80, 3) using ambitus specifically for children, the safest type is tessitura, 4) using main chords, 5) using literal science, sequences, and two-part song forms.

Música en la investigación artística

En este artículo se revisa la situación de la investigación artística en el ámbito musical español desde la perspectiva de sus primeros quince años. En una sección inicial se analiza su progresiva implantación en los centros de educación superior con un enfoque cuantitativo, así como el impacto de su difusión y los principales condicionantes de su desarrollo. A continuación, y desde una visión cualitativa, se señalan los principales puntos de discusión partiendo de la revisión de la literatura específica en España durante estos años. El análisis toma como referencia la evolución del concepto en Europa, a fin de comprender mejor el contexto y los desafíos abiertos.

Texas Jazz Singer: Louise Tobin in the Golden Age of Swing and Beyond by Kevin Edward Mooney

Reviewed by: Texas Jazz Singer: Louise Tobin in the Golden Age of Swing and Beyond by Kevin Edward Mooney Dave Oliphant Texas Jazz Singer: Louise Tobin in the Golden Age of Swing and Beyond. By Kevin Edward Mooney. (College Station: Texas A&M University Press, 2021. Pp. 240. Illustrations, notes, references, index.) This book adds a significant new chapter to the history of Texans who contributed to the development of jazz. The stories of Black Texas women blues singers have been documented previously, but not the role of White Texas women blues or jazz singers. In fact, Louise Tobin, who was born in Aubrey, Texas, on Armistice Day, 1918, may be the only White female singer who sang both blues and jazz during the swing era. Tobin’s 1939 recordings with the Benny Goodman Orchestra place her on the scene in the heyday of the most popular form of America’s only native art form. Tobin’s rise from a small-town singer who performed at church and social functions to a star vocalist with one of the leading White big bands is another example of the seemingly unlikely part that Texas musicians have played in jazz history. Tobin’s personal story not only provides a glimpse into the opportunities for developing a natural talent in a small-town musical family through big-city night clubs and with a local stage band at what was then North Texas State Teachers College, but it also reveals the difficulties faced by women artists whose ambitions were, and still are, dependent on the men in their lives. Married young to Goodman’s trumpet star, Harry James, whose career also began in Texas, Tobin was not supported by her better-known husband, even as she herself helped him to gain prominence as a leader of his own big band by recommending that he hire Frank Sinatra as his vocalist. Following her divorce from James, who later married actress Betty Grable, Tobin devoted herself to their two sons, and after almost twenty years outside the music field, she began to sing in public again. In 1967, Tobin married clarinetist Peanuts Hucko, and the couple enjoyed decades of making music together, even though appearances became increasingly scarce as the popularity of swing music waned. Tobin outlived her second husband and at over one hundred years of age at this writing, is one of the last surviving participants in the big-band era. While Tobin was active in her early years, her sisters documented her career by saving materials related to her performances in Texas, New York, and on the road with swing bands. An archive of documents, recordings, correspondence, and other materials covering the period from 1925 to 2011 was later compiled by friends of Tobin and given to Texas A&M [End Page 213] University (TAMU)-Commerce. Author Kevin Mooney based this biography of Tobin on the Louise Tobin and Peanuts Hucko Jazz Collection at TAMU-Commerce and on personal interviews with the singer; he has made fascinating and enlightening use of both. The book includes an appendix of Tobin’s Camel Caravan Broadcast Performances with the Benny Goodman Orchestra from 1939, an appendix of “Louise Tobin Blues” (with a listing of lyric sources from 1923 to 1939), and a discography of recordings covering the period from 1939 to 1992, as well as a 2010 compilation of previously released and unreleased live recordings. On receiving an honorary doctorate from TAMU-Commerce, Tobin delivered a speech at its 2011 commencement. Her words are a moving testament to the passion that she and other swing-era musicians felt for the music that they performed: “If there is one thought I would like to tuck into your memory today it might be this. That no matter what you choose to do . . . do it with passion” (127). Dave Oliphant Cedar Park, Texas Copyright © 2021 The Texas State Historical Association

Le luth et la trompette. Présence d’Agrippa d’Aubigné dans les recueils de musique notée (1579-1586)

Aubigné’s contribution to the poetic and musical field of his time is not surprising : it confirms the uses often reserved for love poetry written primarily for song. This article focuses in particular on the musicians Didier Le Blanc and Pierre Bonnet, whose collections of Airs de cour include five pieces in verse, most of which were set to music near Poitiers. Some of which were previously unknown and modify our knowledge of The Printemps.