Musical Score Research Articles

The method in musical interpretation

The method in musical interpretation is a way to achieve and materialize the musician’s interpretative approach. Moreover the method allows the suppression of doubts and ignorance while enhances the study’s efficiency. The method involves both the interpretative approach- as a process of internalization and deepening of the semantics belonging to the musical text, as well as the sound materialization- finding the proper way to express the result of identifying the encoded meaning among the music score. When learning through the method, the goal is made aware and the means are being synchronized to it. The performer’s method involves the rational use of the basic principles of interpretation, adjusted to the repertoire’s diversity. In addition, the teacher’s method involves flexibility and grace in coordinating the student’s learning process. The role of the teacher is to guide the constant evolution of the student through understanding and motivation.

Drama-Music Communication in Opera Performance

The study “Drama-Music Communication in Opera Performance” builds on my 35-year experience of lyric drama in opera production. In my career as a director, which spanned from Baroque opera to contemporary opera, I was intrigued by the multiple connections between the musical dramaturgy, vocal expressiveness, stage image and impact on the audience. Consequently, I realised that all these elements which rely on musical scores are connected by something similar to the principle of communicating vessels: with genuine and intense musical-dramatic communication, the artistic emotion may reach the same level in all the components of the connections mentioned above.

“Invisible, as Music – ”: Sheet Music and Communication in the Dickinson Family

Music was a form of communication for Dickinson, both separate from and contained within her poetry. This paper will address how her usage of song stemmed from her frequent engagement with music in...

Influence of codebook patterns on writer recognition: An experimental study

AbstractCodebook‐based writer characterization is an effective technique that has been investigated in a number of recent studies on identification and verification of writers. These methods divide a set of writing samples into small units (fragments or graphemes) and cluster these patterns to produce a codebook. Writer of a handwritten sample is then characterized by the probability (distribution) of producing the codebook patterns. In most cases, a small subset of the database under study is employed to produce the codebook while the rest of the database is used in evaluations. This work aims to validate the hypothesis that the codebook simply serves as a representation space to compare different writings and, in most cases, the patterns in the codebook do not significantly influence the identification and verification performance. The hypothesis is validated by generating a number of codebooks using Greek, Arabic and Chinese handwritten samples. Moreover, codebooks using fragments of handwritten music scores, printed text and synthetic data are also investigated. Evaluations on three well‐known handwriting databases (CVL, BFL and IAM) validate the idea that, in general, the codebook patterns do not have a significant impact on characterizing writer from handwriting.

Influences on teacher efficacy of preservice music educators

The purpose of this study was to explore the factors that influence preservice music teacher efficacy. Participants in this study were undergraduate music education students ( N = 124), a convenience sample taken from six mid-South university music education programs in the United States. To explore the factors influencing preservice music teacher efficacy, a survey was sent to participants. The survey consisted of demographic information (race, gender, classification, etc.), questions about the predictor variables, and the Preservice Music Teacher Efficacy Scale (PMTES). Multiple regression revealed that the predictor variables accounted for 38% ( R2 = .38; adjusted R2 = .33) of the variance in the PMTES. Professional Disposition Scale score (β = .35, p < .001) and Music Performance Efficacy Scale score (β = .39, p < .001) contributed the greatest to the regression model. Based on these findings, music teacher education programs may consider implementing a type of professional disposition measurement throughout music education students’ undergraduate education. The results also reinforce the importance of developing music performance skills as part of a music education program.

Binarization of music score with complex background by deep convolutional neural networks

Binarization is an important step for most of document analysis systems. Regarding music score images with a complex background, the existence of background clutters with a variety of shapes and colors creates many challenges for the binarization. This paper presents a model for binarization of the complex background music score images by fusion of deep convolutional neural networks. Our model is directly trained from image regions using pixel values as inputs and the binary ground truth as labels. By utilizing the generalization capability of the residual network backbone and useful feature learning ability of dense layer, the proposed network structures can differentiate foreground pixels from background clutters, minimize the possibility of overfitting phenomenon and thus can deal with complex background noises appearing in the music score images. Comparing to traditional algorithms, binary images generated by our method have a cleaner background and better-preserved strokes. The experiments with captured and synthetic music score images show promising results compared to existing methods.

Gaze Analysis of Pianists’ Sight-reading: Comparison Between Expert Pianists and Students Training to Be Pianists

One of the most important skills for a pianist is sight-reading, which is the ability to read an unknown music score and play it. In recent years, research has analysed eye movement during sight-reading. However, the definition of sight-reading has varied. In addition, the participants enlisted as experts in most studies have been music college students. The present study aimed to compare eye movements during sight-reading between experts, teachers at a music college and pianists, and non-experts, music college students studying to become pianists, using an eye tracker. Using easy and difficult music scores for two-handed playing, we investigated whether there were differences in the number of eye fixations, fixation duration, and eye-hand span. The definition of sight-reading in this study is to read a novel music score once without playing the piano, and then to play it while looking at the music score. The results showed that the higher the piano performance rating, the longer the eye-hand span. Areas of interest (AOIs) were defined every two rows, including a treble and bass staff in each music score. We conducted a two-factor repeated measures ANOVA (group × AOI) for each dependent variable to analyse fixation count and fixation duration per eye fixation. There was a significant interaction for the fixation count between groups and AOIs both without and with performance in the difficult score. In experts, the number of eye fixations on the difficult part of difficult score increased compared with other part both without and with performances. By contrast, there was a significant interaction for the duration per eye fixation between groups and AOIs in easy score with performance. The duration per eye fixation in experts was shorter than that in non-experts in the easy score with performance. These results suggest that experts get information through short gaze fixations.

Sinsy: A Deep Neural Network-Based Singing Voice Synthesis System

This paper presents Sinsy, a deep neural network (DNN)-based singing voice synthesis (SVS) system. In recent years, DNNs have been utilized in statistical parametric SVS systems, and DNN-based SVS systems have demonstrated better performance than conventional hidden Markov model-based ones. SVS systems are required to synthesize a singing voice with pitch and timing that strictly follow a given musical score. Additionally, singing expressions that are not described on the musical score, such as vibrato and timing fluctuations, should be reproduced. The proposed system is composed of four modules: a time-lag model, a duration model, an acoustic model, and a vocoder, and singing voices can be synthesized taking these characteristics of singing voices into account. To better model a singing voice, the proposed system incorporates improved approaches to modeling pitch and vibrato and better training criteria into the acoustic model. In addition, we incorporated PeriodNet, a non-autoregressive neural vocoder with robustness for the pitch, into our systems to generate a high-fidelity singing voice waveform. Moreover, we propose automatic pitch correction techniques for DNN-based SVS to synthesize singing voices with correct pitch even if the training data has out-of-tune phrases. Experimental results show our system can synthesize a singing voice with better timing, more natural vibrato, and correct pitch, and it can achieve better mean opinion scores in subjective evaluation tests.

Prices of Music Monographs and Scores as Reflected in Notes, 2014–2020

Cary discusses the prices of music monographs and scores. In terms of monographs, the average price declined in 2020 from $89.57 to $81.71. The number of books included also dropped by 24 percent to 304. Prices were available for all 304 books, so all of them were included in the calculations. In terms of extremes, at the low end, several books are listed at $12.00. The most expensive items are three Routledge companions that retail for $245.00 each.

Системна організація конструктивно-логічного аспекту професійної пам’яті музиканта-виконавця

Purpose of the research: to trace the efficiency of the work of some aspects of the professional memory of a musician-performer, depending on the activation of the constructive-logical principle, to systematize the methods of conscious reading of the piano score. Give a number of examples of the use of the proposed algorithm by pianists. The research methodology represents the performing approach in the structural analysis of the musical stuff of a piece and is based on the system-analytical method. When considering the material of the study, harmonic and linear-horizontal analysis were used. Scientific Novelty: an algorithm for the practical implementation of the constructivelogical aspect of professional memory is presented, and the importance of pairing this type of work with certain parameters of physical perception, reproduction and preservation of musical text is substantiated. Conclusions: when working on learning the text, the transition from the spontaneous and unconscious to the level of the conscious and non-random is realized through rational comprehension, as well as analytical and logical reading of the musical score. The motor or tactile memory of the musician-performer, which is the strongest for most musicians, becomes a true partner of the artist only when it is supported not only by the auditory and visual aspects of “fusion” with the piece of music, but also by a clear constructive-logical analysis, which is a theoretical “grasping” of horizontal and vertical musical score. The latter is largely based on melodic and harmonic analysis. Accurate mastering and repeated elaboration of this structural framework acts as an element of work that is able to provide such a level of professionalism in which the head, controlling its hands, minimizes white text spots and contributes to a special level of reliability of reproduction and durability of preservation of the text.

"African" Songs and Women's Abolitionism in the Home, 1787–1807

"African" Songs and Women's Abolitionism in the Home, 1787–1807 Julia Hamilton (bio) During the first wave of antislavery activism in Britain—from about 1787 to 1807—the nation's musical marketplace saw a new trend for scores composed on the themes of West Indian slavery, the transatlantic slave trade, and African identity.1 At least fifty of these scores were so-called "African" songs: that is, songs by white British composers and poets whose texts used first-person narration from the imagined point of view of an African.2 These songs ranged in tone and subject matter from sentimental complaints about the slave trade to expressions of hospitality for white travelers in Africa to songs of cheerful slavery. Whether their texts advocated for the abolition, amelioration, or continuation of slavery, all of the songs promoted racialized thinking by producing and circulating stereotypes about Africans. Yet these problematic songs are important historical sources, particularly as they bring to light new musical performance contexts in which the debates over abolition played out. Scholars have already begun to explore the relationship between music and popular abolitionism, studying the texts of antislavery ballads sung on the streets and so-called "Negro" songs performed on the stage.3 Brycchan Carey's work on abolitionist ballads by William Cowper has pointed to another performance venue for "African" songs: the home.4 Indeed, the format in which most "African" songs were published—short musical scores for voice with accompaniment by a keyboard instrument or harp—was [End Page 153] ideally suited for domestic consumption. Women in particular were encouraged to cultivate their keyboard, harp, and vocal skills, and their music collections were filled with such scores.5 In fact, I have located personal copies of "African" songs and keyboard pieces on African themes that were originally owned by nineteen different British women. Eleven of these women owned at least one "African" song whose text contained explicitly antislavery rhetoric.6 For instance, Lady Maria Beauclerk (ca. 1779–1822) transcribed into her manuscript copybook John Wall Callcott's "Forc'd from Home and all it's [sic] Pleasures" (ca. 1799), a new setting of Cowper's "The Negro's Complaint."7 Lydia Hoare Acland (1786–1856) of Killerton House likewise owned two antislavery songs by William Carnaby: "The Negro Girl" (ca. 1801) and "Azid, or the Song of the Captive Negro" (ca. 1802)."8 Mary Edmeades (1772–1840) of Owletts included Edward Miller's "The Negro Boy, Who was Sold by an African Prince, for a Metal Watch" (1792) and William Reeve's "The Desponding Negro" (ca. 1793) in a single binder's volume, which was later used by her two daughters.9 The existence of these scores in women's music collections is especially significant because we already know that British women actively supported abolition by writing antislavery literature, abstaining from slave-produced sugar, and wearing antislavery medallions.10 The scores, therefore, introduce to scholarship a previously unknown group of women who opposed the slave trade and recast domestic music-making as a potentially abolitionist activity. With that said, the specifics of women's day-to-day musical practices are notoriously difficult to uncover. Amateur musicians rarely left written evidence of the music that they played on any given day, let alone descriptions of how the political message in a song's text affected their worldview. How then might we understand a musical score as evidence of antislavery activism? This article thinks through what it might have meant for a contemporary British woman who opposed the slave trade to use the score of one abolitionist "African" song, William Howard's "The Negro's Lamentation" (1800), in her home.11 I outline some of the musical activities that are likely to have been involved in the domestic consumption of this score: studying the meaning and sentiment of the song's text, singing the words of the first stanza to the tune, working to find suitable text-settings for later stanzas, and accompanying oneself while singing. Each of these activities, I argue, would have entailed spending time working through the lyrics. And since the song's text forces the reader to reflect on her complicity in Britain's...

Музыкальное образование в контексте новых информационных технологий

The article is dedicated to the analysis of forms and methods of application of information technologies in the educational process of children’s art schools in the implementation of programs in the field of musical performance. The article considers the synthesis of the unconditional preservation of the existing traditions of the primary level of the Russian music school and the methodological expediency of using new technologies in the educational process of children’s art schools. Specific software developments, electronic educational resources are proposed for use, the application effect in the educational process is described. The article shows that the introduction of new musical information technologies provides additional opportunities for musicians when working with musical scores, orchestral parts, when performing creative tasks in subjects of the theoretical cycle. The article also discusses and analyzes the interactive educational programs of the series «Playing with Music».

«ПИКОВАЯ ДАМА» ПУШКИНА В ОПЕРЕ, ОПЕРЕТТЕ И АНИМАЦИИ

The article tells about three works based on the "Queen of Spades" by A. Pushkin – opera by F. Galevi, operetta by F. Zuppe and an animated film by D. Naumov and M. Lisovoy, which are viewed on the background of the opera by P. Tchaikovsky. The analysis of plot and musical scores were made. The article does not contain a comparison of these three texts, but each of them is studied in sufficient detail. In general, the following article is not yet a comparison of texts that are directly related to the work of A. Pushkin. The research may be of interesting to musicologists, literary critics and cultural scientists.

On the History of P.Chevalier de Brissol’s Ballet “The Village Heroine” (1800)

The article is devoted to the history of the creation and compositional features of P.Chevalier de Brissol’s ballet to the music of G.A. Pari “The Village Heroine”. Information was collected and clarified on the performances of the play, its authors and performers. Discrepancies were revealed in the studies (the date and place of the premiere, the number of acts, the names of choreographers and composers do not match). The creative continuity of the choreographers in working with the plot is noted and documentary information on the resumption of the ballet performed by A. Poireau, I. Walberh and A. Glushkovsky is provided. The libretto compositions were found and studied. In the article, the history of the plot related to the opera of P.Monsigny “Deserter”, the ballet of the same name by J.Doberval and other works are considered. For the first time, little-known handwritten musical sources of the ballet and its musical material are discussed. Textual features were studied, including handwritten litters containing the names of the creators, the dates of the ballet, as well as a rare autograph of the composer and bandmaster I. F. Kerzelli. The place of the composition in the work of Pari is determined and the conclusion is made that the musical score was compiled from the well-known works of different authors. In search of the authors of musical fragments, a complete verification of the score of the opera by P.Monsigny “Deserter” and the musical source “Village Heroine” was conducted. In the course of checking the score, a quote from the opera “Orpheus and Eurydice” by C.W. Gluck was discovered. The advantages of instrumentation and musical drama of ballet, built on thorough development and a system of thematic reprise, are revealed. It is established that Pari wrote music for its sequel — the ballet in three acts “The Consequence of the Village Heroine” (1806?), choreographed by Poireau and Valberkh.

Комментируя Хармса

The paper is dedicated to the quest for the sources of the two notes made by Daniil Kharms in his notebooks and dated May 1927 and July 1933. The first one is devoted to someone “great Rebbe from Liadi”: Kharms was going to get his book with musical score from Doibver Levin. The motif in question is the arba bavot nigun, also called “the great nigun”, ascribed to Schneur Salman Schneerson von Liadi, the founder of Liubavich Hasid dynasty, The paper analyses the “magic” context of Kharms interest in nigun (which, according to the followers of Habad, could influence reality) and the circumstances of the hypothetic visit of Levin, Kharms and Bekhterev to the sixth Liubavich Rebbe Joseph Yitzhak Schneerson, who was then residing in Leningrad. The second part of the paper is dedicated to the origins of Kharm’s note on the ship “Pyatnitsa” (“Friday”) alledgedly created to fight superstitions. It is demonstrated that the form of the legend written down by Kharms points to its direct source — Fenimore Cooper’s novel The Red Rover. However the Russian source could have been the first edition of the novel that contained the author’s note telling the legend; this note was withdrawn from all later reeditions.

Hölderlin’s Interpretation of Pindar’s Fragment of the Dolphin : A Reading from the Perspective of the Comparative History of Acoustics1

Abstract Throughout earth’s history, organisms have used various sounds to communicate. Humans are no different. Language was born from the sounds that humans create orally as a means of communication. Humans also grew to use musical instruments; and in some regions, the use of instruments led to the development of acoustic science from an early date. Europe and East Asia represent the clearest examples of this phenomenon. As we look back at the history of acoustic culture in the world, the 1870s to 1900s was the period that saw the introduction of such methods of acoustic preservation, reproduction, and propagation in Europe and USA. The telephone, phonograph, and radio stand out as especially prominent. From then, it became possible to preserve, reproduce, and propagate manmade songs and music that had been passed down in various regions of the world through oral tradition, or that had been preserved only through musical scores; even sounds that were not manmade, such as animal calls, could be recorded. Today, the role of preserving, reproducing, and propagating sounds has been adopted by computers, and we can enjoy sounds from around the world through the medium of the internet.

Pullman: Labor, Race, and the Urban Landscape in a Company Town: A Digital Exhibition at The Newberry

Reviewed by: Pullman: Labor, Race, and the Urban Landscape in a Company Town: A Digital Exhibition at The Newberry Jaka Lombar It may well be that in the age of lockdowns and quarantines, the strengths and shortcomings of digital archival infrastructures and online exhibitions will come to make or break them as the apt alternatives to the physical venues that were until recently, the default assemblages for the dissemination of historical knowledge. The origin of The Newberry's exhibition on Pullman (https://publications.newberry.org/pullman/), a neighborhood on Chicago's South Side, is a series of workshops on industrial capitalism (2011), which necessitated the digitization of a number of archival documents that now form the core of the online exhibition. The documents provide a framework for a central narrative of Pullman's origins and development through the urban, race, and labor histories of the town, all of which are contextualised through the wider national narratives and movements that permeated the local dynamics of a manufacturing town. The exhibit illustrates how the expansive social vision of magnate George Pullman was put to practice in the town where his company not only owned the factories but the homes workers occupied, the bar they drank in, and even the ground on which their church stood. The all-encompassing planning and Pullman's capacity for asserting power over the local population eventually exacerbated hostilities between the Pullman company and its workers, contributing to the 1894 strike. Crucially, the historical narrative that The Newberry presents does not shy away from the White supremacy that underlay Pullman's supposedly altruistic practice of hiring Black workers exclusively for the service positions. The exposition text candidly recognizes that this reflected a mindset that was "deeply paternalistic and informed by racial presuppositions" within which the Black workers were merely permitted and expected "to serve white people.#x201D; The exhibition centers on the social strata from the macro perspective in the section entitled "In the City," to the more and more local iterations of [End Page 119] the urban spatiality in sections such as "In the Town," "In the Shops," and "In the Neighborhood." Occasionally, the exhibition texts are also hyperlinked with other similar online projects such as the online Encyclopedia of Chicago. By utilizing the virtual qualities of the exhibition format while also retaining the majority of the content on site, the narrative flow of the exhibit is both future-proofed from dead links and kept free of unnecessary clutter. Each of the sections is constructed from a handful of subsections, which in turn consist of a paragraph-long contextual introduction. Viewers can click on thumbnail images of scanned material to examine the magnified images in more detail. These artefacts are the cornerstones of the virtual exhibition, and it is through their framing that the presentation is at its strongest. Photographs, drawings, financial documents, employee service cards, music sheets, and other ephemera are most vibrant when the curators accentuate their distinctive qualities. By calling attention to oily handprints on a petition, for example, curators help viewers make a human connection to the hands of workers who had held the document. Curators also situate scanned materials within wider social dynamics by posing questions directly to the viewer: "How are working people characterized?" "What is emphasized?" "What gets overlooked?" These are some of the prompts offered in connection to illustrations of industrial relations published in the popular press. Such interventions help viewers to engage with the exhibition on their own terms, while making sure the emphasis remains on the artefacts that invite a response. The questions serve as useful devices to look beyond particular instances to the larger social and political issues of Pullman, and they are able to direct viewers' attention to artifacts and issues that may not be represented or physically present in the archive's collection. Unfortunately, the presentation of some documents in the exhibition does not meet the expectations set up by mass digitization. While single-page documents function well through enlargement that makes them legible, some of the multi-page reports, accounts, and testimonies that are marked as PDFs are, upon opening, merely the images of the first page and not the entire document. Aside...

Music Received

Music Received Compiled By Kathleen A. Abromeit A key to abbreviated imprints is found at the end of this column. For information about the content and arrangement of this list, consult the introduction to the column in the September issue (p. 148 of this volume). Due to shipping and mailing delays during the COVID-19 pandemic, this column was compiled by using the Theodore Front website. Structural racism continues to disproportionately segregate composers of color and women from access to performance opportunities. We at Notes realize that music libraries play a crucial role in elevating these composers and the public discourse around race and racism. As such, the editor of the Music Received column has curated this column based on recently published works by BIPOC composers (Black, Indigenous and People of Color) and women. Special thanks to Jake Balmuth and Julia Klein for their assistance with this column. ASIAN AMERICAN COMPOSERS Chen, Yi. Happy Tune: For Violin and Viola. Presser, 2020. ISBN 9781491132333. Score, 7 p. and 2 parts. $14.99. Chen, Yi. Shuo Chang: For Guitar, 2014. Revised edition. Presser, 2020. ISBN 9781491132944. Score, 7 p. $9.99. Chen, Yi. Totem Poles: For Organ. Presser, 2020. ISBN:9781491132326. Score, 8 p. $11.99. Fung, Vivian. Clarinet Quintet - Frenetic Memories: For Clarinet in B Flat and String Quartet (2017). Bill Holab Music, 2020. Score, 42 p. and 5 parts. $90. Fung, Vivian. Prayer: For Full Orchestra. Bill Holab Music, 2020. Study score, 20 p. Spiral. $40. Fung, Vivian. String Quartet No. 4: Insects and Machines. Bill Holab Music, 2019. Score, 45 p. and 4 parts. $80. Lee, Thomas Oboe. Christmas Cantata (2001). Departed Feathers Music, 2020. Score, 68 p. and parts. Download. $52.15. Lee, Thomas Oboe. Christmas Cantata (2001). Departed Feathers Music, 2020. Score, 68 p. and 6 parts. $74.50. Lee, Thomas Oboe. Octet: For Strings. Departed Feathers Music, 2020. Score, 132 p. and parts. Download. $76.65. Lee, Thomas Oboe. Octet: For Strings. Departed Feathers Music, 2020. Score, 132 p. and 8 parts. $109.50. Lee, Thomas Oboe. Préludes - Hommage à C. D.: For Piano. Departed Feathers Music, 2020. Score, 42 p. $27. Tanaka, Karen. Wind Whisperer: For Flute, Viola and Harp. Schott, 2019. Score, 12 p. and 3 parts. $47. BLACK COMPOSERS Adams, Leslie. L'Amour Éternel: For Flute and Piano (2012). American Composers Alliance, 2014. Score, 60 p. and 1 part. $39.95. Adams, Leslie. Danza Di Tre Bambole: For Piccolo, Flute and Piano (2017). American Composers Alliance, 2020. Score, 11 p. and 2 parts. $14.75. Adams, Leslie. String Quartet in D Flat (2003). American Composers Alliance, 2015. Score, 27 p. and 4 parts. $39.95. Anderson, Thomas J. Aurelia, In Memoriam: For Solo Violin. American Composers Alliance, 2020. Score, 1 p. $6.75. Day, Kevin. Dancing Fire: For Wind Ensemble (2016). Murphy Music Press, 2020. Full score, 17 p. Spiral. $25. [End Page 477] Day, Kevin. Galactic Voyage: For Concert Band (2018). Murphy Music Press, 2020. Full score, 25 p. Spiral. $30. Day, Kevin. Havana: For Wind Ensemble (2018). Murphy Music Press, 2020. Full score, 30 p. Spiral. $40. Day, Kevin. Ignition: For Low Brass Quartet. Murphy Music Press, 2020. Score, 11 p. and 5 parts. Spiral. $25. Day, Kevin. J.R.: For Expanded Wind Ensemble (2017). Murphy Music Press, 2020. Full Score, 19 p. Spiral. $50. Day, Kevin. Lightspeed: Fanfare for Orchestra. Murphy Music Press, 2019. Full Score, 18 p. Spiral. $25. Day, Kevin. Manhattan Nights: For Symphony Orchestra (2017). Murphy Music Press, 2018. Full Score, 34 p. Spiral. $45. Day, Kevin. Pyrotechnics: Concerto for Trumpet and Wind Ensemble. Murphy Music Press, 2020. Full Score, 27 p. Spiral. $80. Day, Kevin. Rocketship!: For Concert Band (2017). Murphy Music Press, 2020. Full Score, 16 p. Spiral. $25. Day, Kevin. A Song for Tomorrow: For Concert Band. Murphy Music Press, 2019. Full Score, 16 p. Spiral. $25. French, Alexis. The Sheet Music Collection: For Solo Piano. Leonard, 2020. ISBN 9781540091741. HL 00345258. Score, 143 p. $19.99. Marsalis, Wynton. A Fiddler's Tale: For Clarinet, Bassoon, Cornet, Trombone, Percussion, Violin & Bass (1998). Wynton Marsalis, 2020. 29110050. Study score, 152 p. $100. Moore, Dorothy Rudd. Baroque Suite: For Solo Cello (1965). American Composers Alliance, Second...

Text to Song Synchronization Using Deep Neural Network

The most crucial aspect of the learning process is memory. There is no knowledge without memory. But most people lack memory because they memorize things through rote memorization. So in this paper, we have implemented a DNN model that converts plain text into a song which is done by synchronization of a midi file or the music with the text. MIDI files are symbolic representations of the music score. The melodic line of the composition is normally on one of them, while the background music is on the others. Analyzing the audio to identify voice portions in the audio where a human voice is present, as well as non-voice segments in proximity to the voice segments, is part of a method for syncing text with audio. The text segments of segmented text related to the audio can be recognized and synchronized to the speech segments.

ОСОБЕННОСТИ ВИЗУАЛЬНОГО РЯДА МУЗЫКАЛЬНОЙ РЕКЛАМЫ И ЕГО ВОЗДЕЙСТВИЕ НА ПОТРЕБИТЕЛЯ

Before 1950s, advertising had a reputation as a not entirely reputable business. A fragment from A. Hitchcock’ film may serve as an approval of it, where a hero states that in the world of advertising, there is no such thing as a lie, but there is only the expedient exaggeration. With the advent of the TV, the musical functions of transferring and evoking the emotions are generated. Since 1990s, music in advertising refers to music integrated in the media advertisement in order to enhance its success. The novelty of the research concerns the visual and music-visual modalities in the advertisement video contributing to the commercial interest from the consumers, which have been analyzed based on the aesthetic appeal to the screen images. Music is a crucial part of advertising. Thus, the Race of Parts musical content of the advertisement for 2008 featuring the Renault Megane, accompanied by the music from Vivaldi’s the Four Seasons, Summer, Part 3, is closely associated with formation of a product itself. It is expressed by the attractive interactions between the car parts and the rising tessitura, while the color gamut is in contradiction to the general associative perception. The musical score expressing a product olfactory perception is more rhythmic and airy. Thus, the advertisement of the Giorgio Armani Acqua Di Gioia perfume uses the audio-visual modality of the water element including rain, sea waves, and waterfall. Constructing the visual perception is supported by the dominant in music with a tendency to the gradually developing variation set. Unreasonable music used in advertising can result in decreasing the interest to the made brand. This fact has caused a strong activity in finding the new ways to attract the interest of the audience to the commercial product. Animation is one of them (for instance, the animated Coca-Cola Polar Bears Commercial, 2012). The music is written in the classical style by Glenn Rueger. Music supplements expand the imagery of the main heroes, attracting the potential consumers. In the clip of political advertising, the music may play a significant role. The music sounding as a patriotic call can help the audience perception of the essence of the challenge images in the clip and the opportunities to overcome them. The clip from the I am Shapovalov film (1973) with the Let’s Raise the Cavalry Swords song (Composer E. N. Ptichkin and Lyricist E. E. Karelov) performed by V. Mulerman contains a sustaining calmer rhythm. With respect to the same song performed by A. Chuprin, the constants of the march precise in rhythm sound against the reference history of creating and developing the Armed Forces of the Soviet Union and modern Russia. The musical content in advertising is shown to increase the psychological impact on the audience and its emotional arousal, enhancing the attractiveness of a commercial product. Therefore, careful selection of the music material and the method of its use may contribute to creating the rhythmically charged imagery of the clip itself, providing insight into imagery and forming an appropriate language content with the use of cinematographic techniques (editing, color grading, etc.). In addition, the ideological dimension of the musical rhythmic pattern in advertising may contribute to determining the genres of the clip itself.