Piece Of Music Research Articles

Exploring the Impact of Positive Psychology-Based Virtual Music Therapy on Mental Health in Stressed College Students during COVID-19: A Pilot Investigation.

This study explored the effectiveness of a virtual music therapy program, based on positive psychotherapy principles, in college students during the COVID-19 pandemic. Twenty-four undergraduate students with partial PTSD were initially assigned to either an experimental group or a control group, with 11 participants in each group by the study's end. The experimental group underwent 15 video sessions of the therapy program, completing one session per weekday over 3 weeks. The program involved worksheets targeting goals aligned with positive psychology, such as positive affect, life meaning, personal strengths, gratitude, hope, and happiness. The activities included writing music autobiographies, creating and analyzing song lyrics, and exploring various music pieces. The effectiveness of the intervention was measured using the 21-item Depression Anxiety Stress Scale and the Korean Version of Positive Psychological Capital (K-PPC) before, immediately after, and 3 weeks post-program. The experimental group showed significant improvements in stress (F = 5.759, p < 0.05), anxiety (F = 4.790, p < 0.01), depression (F = 5.740, p < 0.01), self-efficacy (F = 3.723, p < 0.05), resilience (F = 4.739, p < 0.05), and the K-PPC total score (F = 3.740, p < 0.05) compared with the control group. These improvements were maintained at the 3-week follow-up. The findings suggest that positive psychology-based virtual music therapy can significantly enhance the mental health of highly stressed college students, especially during challenging times such as the COVID-19 pandemic.

Effects of broadband music and audible band music on relaxation states and cognitive function in young adults: a randomized controlled trial

BackgroundAlthough broadband music with inaudible high-frequency components may benefit human well-being, this research area is largely unexplored and lacks sufficient studies on the topic. This study aimed to investigate and compare the effects of broadband and audible band music on relaxation states and cognitive function in young adults.MethodsA single-blind randomized controlled trial was conducted in a professional soundproof laboratory from December 22, 2022, to January 18, 2023 with 32 participants randomly assigned to two groups, “Day 1 broadband + Day 2 audible band” (n = 16) and “Day 1 audible band + Day 2 broadband” (n = 16), listening to either broadband or audible band music (the same music piece played on the piano and harp) for two sessions of 15 min each on two consecutive days. Cognitive function was measured using CNS Vital Signs at pre-listening, after the 1st session, and after the 2nd session, while heart rate was monitored throughout the experiment. Visual Analog Scale was also administered for self-reported arousal, stress, thinking ability, and attention following each listening session.ResultsNo significant differences were found in heart rate, cognitive flexibility, and executive function between the broadband listening group and the audible band-listening group (p > 0.05). However, the broadband group exhibited significant differences in mean heart rate at several time points, as well as a significant improvement in VAS stress level during the 2nd listening session compared to the 1st (p < 0.05). On the other hand, significant improvements in cognitive flexibility and executive function were observed in the audible band group across different time points (p < 0.05).ConclusionComparative analysis showed that broadband and audible band music influenced cognitive function differently. Short-term audible band music listening significantly improved cognitive flexibility and executive function, while short-term broadband music listening significantly reduced reaction time in cognitive tests. Additionally, broadband music consistently resulted in lower mean heart rates compared to audible band music at all time points, suggesting that it may be more effective in promoting relaxation and reducing stress, although these differences were not statistically significant. Since the cognitive enhancing effects of broadband music may be counteracted by the drowsy effect of the selected relaxing music, using different types of music may be necessary to confirm its effects in future studies.

Heart rate-related physiological changes induced by classical music-elicited emotions do not underlie alterations in healthy adults’ ankle joint target-matching strategy

Emotions have the potential to modulate human voluntary movement by modifying muscle afferent discharge which in turn may affect kinesthetic acuity. We examined if heart rate (HR)-related physiological changes induced by music-elicited emotions would underlie alterations in healthy young adults’ ankle joint target-matching strategy quantified by joint position sense (JPS). Participants (n = 40, 19 females, age = 25.9 ± 2.9 years) performed ipsilateral-, and contralateral ankle target-matching tasks with their dominant and non-dominant foot using a custom-made foot platform while listening to classical music pieces deemed to evoke happy, sad, or neutral emotions (each n = 10). Participants in the 4th group received no music during the task. Absolute (ABS), constant (CONST), and variable (VAR) target-matching errors and HR-related data were analyzed. Participants performed the contralateral target-matching task with smaller JPS errors when listening to sad vs. happy music (ABS: p < 0.001, d = 1.6; VAR: p = 0.010, d = 1.2) or neutral (ABS: p < 0.001, d = 1.6; VAR: p < 0.001, d = 1.4) music. The ABS (d = 0.8) and VAR (d = 0.3) JPS errors were lower when participants performed the task with their dominant vs. non-dominant foot. JPS errors were also smaller during the ipsilateral target-matching task when participants (1) listened to sad vs. neutral (ABS: p = 0.007, d = 1.2) music, and (2) performed the target-matching with their dominant vs. non-dominant foot (p < 0.001, d = 0.4). Although emotions also induced changes in some HR-related data during the matching conditions, i.e., participants who listened to happy music had lower HR-related values when matching with their non-dominant vs. dominant foot, these changes did not correlate with JPS errors (all p > 0.05). Overall, our results suggest that music-induced emotions have the potential to affect target-matching strategy and HR-related metrics but the changes in HR-metrics do not underlie the alteration of ankle joint target-matching strategy in response to classical music-elicited emotions.

'We Feel Something'

On February 11, 1965, less than one year after the outset of the Brazilian military dictatorship, singer Maria Bethânia assumed one of the principal roles in the musical theater piece Opinião in Rio de Janeiro. Taking over for Nara Leão, who helped conceive the play, Bethânia was celebrated by fans, especially for her performance of co-star João do Vale’s song ‘Carcará.’ The song’s lyrics invoke imagery of the Brazilian northeast, home region of both Vale and Bethânia, and the performance includes a spoken statistical report on the migration of people from the northeast to the southern cities. Although the song’s composer denied that the song was an act of protest or political commentary, General Riograndino Kruel, then head of the Federal Police, identified it as one of the ‘subversive’ elements in the show that needed to be cut. This call to censorship contradicted the censor board’s 1964 approval of the show, during Nara Leão’s run as star. This article analyzes singer Maria Bethânia’s participation in Opinião to consider the potential for musical performance to engender political community by affective means. Drawing on archival materials and interviews conducted with audience members and participants, I argue that Bethânia’s performances were the catalyst for the formation of an oppositional ‘community of feeling,’ a collective predicated the expression of negative emotional energy toward the nascent authoritarian state. I show how audience members’ and critics’ affective response to Bethânia’s performance evidenced a shift in the tenor of the public for Opinião, which subsequently raised the suspicions of the military government. Additionally, I investigate how the dictatorship’s repressive response illustrates the possibilities and limits of a community formed through musical performance. Photo caption: Maria Bethania in the show Opinião, at Teatro de Arena, São Paulo, 1965. (Public domain / Arquivo Nacional Collection)

A Survey and Research on the Current Situation of the Introduction of Chinese Ethnic Instrumental Music into Classes ——Taking Jining of Shandong Province as an Example

Chinese traditional ethnic musical instruments have undergone a legacy of five thousand years, from the exquisite bone flutes of the ancient Xia and Shang dynasties to the pinnacle of plucked string music in the Sui and Tang dynasties. Many ethnic instruments and musical pieces with enchanting tones and boundless charm have been passed down, making them a brilliant gem in the world of music. Since the early 1990s, Xu Le has advocated for the inclusion of these excellent traditional instruments in primary and secondary school music classes to enrich the content of music education and strongly promote the implementation and popularization of aesthetic education policies. Chen Jinfeng believes that take introducing ethnic instrumental music as basic education can comprehensively cultivate students’ interests, enrich their aesthetic experiences and tastes, and achieve a high degree of integration between traditional ethnic instrumental music and quality education. This paper investigates the implementation of introducing ethnic instrumental music into classroom in three primary and secondary schools in Jining, Shandong Province. The data is collected and analyzed by field interviews and online questionnaires. And the necessity and urgency of introducing ethnic instrumental music is highlighted after summarizing, comparing and analyzing the study. It is hoped that this research will continuously propel the introduction of ethnic instrumental music in primary and secondary school curricula, contributing to the enhancement of overall quality and the popularization of aesthetic education.

Composing jazz music pieces using LSTM neural networks approach

The domain of artificial intelligence has increasingly extended into the creative arts, aiming to emulate and augment human creativity with automated processes. This is particularly evident in the field of music, where AI's ability to learn and produce intricate compositions has attracted significant attention. This study explores the challenge of generating jazz music using artificial intelligence, specifically focusing on the application of Long Short-Term Memory (LSTM) neural networks for jazz composition. By optimizing the model to address the genre's complexity, the research demonstrates the LSTM's capacity to capture and reproduce jazz's essential harmonic progressions and rhythmic nuances. Quantitative analyses show high accuracy and a deep understanding of musical structures, whereas qualitative feedback confirms the model's efficacy in producing compositions that embody jazz's spontaneity. Despite its achievements, the model's tendency to generate repetitive sequences suggests areas for improvement. This paper advances the field of AI in music, illustrating the potential of LSTM networks to mimic complex musical genres and emphasizing the necessity of ongoing model refinement to foster creativity. It highlights the evolving role of machine learning in music generation, proposing a foundation for future work aimed at diminishing the gap between AI capabilities and artistic expression.

Exploring how a generative AI interprets music

We aim to investigate how closely neural networks (NNs) mimic human thinking. As a step in this direction, we study the behavior of artificial neuron(s) that fire most when the input data score high on some specific emergent concepts. In this paper, we focus on music, where the emergent concepts are those of rhythm, pitch and melody as commonly used by humans. As a black box to pry open, we focus on Google’s MusicVAE, a pre-trained NN that handles music tracks by encoding them in terms of 512 latent variables. We show that several hundreds of these latent variables are “irrelevant” in the sense that can be set to zero with minimal impact on the reconstruction accuracy. The remaining few dozens of latent variables can be sorted by order of relevance by comparing their variance. We show that the first few most relevant variables, and only those, correlate highly with dozens of human-defined measures that describe rhythm and pitch in music pieces, thereby efficiently encapsulating many of these human-understandable concepts in a few nonlinear variables.

Firefly algorithm-based LSTM model for Guzheng tunes switching with big data analysis

Guzheng tune progression involves intricately harmonizing melodic motif transitions. Effectively navigating this vast creative possibility space to expose musically consistent elaborations presents challenges. We develop a specialized large long short-term memory (LSTM) model for generating musically consistent Guzheng tune transitions. First, we propose novel firefly algorithm (FA) enhancements, e.g., adaptive diversity preservation and adaptive swim parameters, to boost exploration effectiveness for navigating the vast creative combinatorics when generating Guzheng tune transitions. Then, we develop a specialized stacked LSTM architecture incorporating residual connections and conditioned embedding vectors that can leverage long-range temporal dependencies in Guzheng music patterns, including unsupervised learning of concise Guzheng-specific melody embedding vectors via a variational autoencoder, encapsulating unique harmonic signatures from performance descriptors to provide style guidance. Finally, we use LSTM networks to develop adversarial generative large models that enable realistic synthesis and evaluation of Guzheng tunes switching. We gather an extensive 10+ hour corpus of solo Guzheng recordings spanning 230 musical pieces, 130 distinguished performing artists, and 600+ audio tracks. Simultaneously, we conduct thorough Guzheng data analysis. Comparative assessments against strong baselines over systematic musical metrics and professional listeners validate significant generation fidelity improvements. Our model achieves a 63 % reduction in reconstruction error compared to the standard FA optimization after 1000 iterations. It also outperforms baselines in capturing characteristic motifs, maintaining modality coherence with under 2 % dissonant pitch errors, and retaining desired rhythmic cadences. User studies further confirm the superior naturalness, novelty, and stylistic faithfulness of the generated tune transitions, with ratings close to real data.

Taste the music: Modality-general representation of affective states derived from auditory and gustatory stimuli

Prior studies have extensively examined modality-general representation of affect across various sensory modalities, particularly focusing on auditory and visual stimuli. However, little research has explored the modality-general representation of affect between gustatory and other sensory modalities. This study aimed to investigate whether the affective responses induced by tastes and musical pieces could be predicted within and across modalities. For each modality, eight stimuli were chosen based on four basic taste conditions (sweet, bitter, sour, and salty). Participants rated their responses to each stimulus using both taste and emotion scales. The multivariate analyses including multidimensional scaling and classification analysis were performed. The findings revealed that auditory and gustatory stimuli in the sweet category were associated with positive valence, whereas those from the other taste categories were linked to negative valence. Additionally, auditory and gustatory stimuli in sour taste category were linked to high arousal, whereas stimuli in bitter taste category were associated with low arousal. This study revealed the potential mapping of gustatory and auditory stimuli onto core affect space in everyday experiences. Moreover, it demonstrated that emotions evoked by taste and music could be predicted across modalities, supporting modality-general representation of affect.

Reliability for music-induced heart rate synchronization

Common inputs synchronize various biological systems, including human physical and cognitive processes. This mechanism potentially explains collective human emotions in theater as unintentional behavioral synchronization. However, the inter-subject correlation of physiological signals among individuals is small. Based on findings on the common-input synchronization of nonlinear systems, we hypothesized that individual differences in perceptual and cognitive systems reduce the reliability of physiological responses to aesthetic stimuli and, thus, disturb synchronization. We tested this by comparing the inter- and intra-subject Pearson’s correlation coefficients and nonlinear phase synchronization, calculated using instantaneous heart rate data measured while appreciating music. The results demonstrated that inter-subject correlations were consistently lower than intra-subject correlations, regardless of participants’ music preferences and daily moods. Further, music-induced heart rate synchronization depends on the reliability of physiological responses to musical pieces rather than mood or motivation. This study lays the foundation for future empirical research on collective emotions in theater.

Innovative communication of molecular evolution through sound: a biological sonification concert

BackgroundA major challenge of evolutionary biology is making underlying concepts accessible to wide audiences. One method for doing so is to utilise multi-media formats that have potential to engage and inform through entertainment. This pilot study outlines and discusses a sonification concert that integrated musical performance with a range of evolutionary concepts and ideas fundamental to an understanding of evolution, such as protein sequences. We aimed to showcase sound-art objects and live-coding performances created using sonification as a mechanism for presenting complex biological processes to both researcher and non-researchers. We sought to evaluate the effectiveness of this art-adjacent practice for public engagement with evolutionary biology research, and also to gather feedback to guide future events. Toward this end, we held a live concert showcasing biologically-based algorithmic music exploring links between evolutionary biology research, sound art, and musical performance. The event had three main acts: a generative audio-visual piece giving an artistic representation of SARS coronavirus based on a parameter-mapping sonification of protein sequence of the replicase polyprotein; a pre-recorded string ensemble demonstrating the effects of codon selection on translation speed using parameter-mapping sonification; and a live-coded music piece interactively sonifying protein structures.ResultsOur event attracted 90 attendees. We evaluated success using direct observation and written feedback forms with a 58% response rate: 95% of respondents stated they had enjoyed the event and 63% indicated they were inspired by it.ConclusionsPresenting the sonic outputs of sonification research in a concert format showed good potential for the pursuit of public engagement with evolutionary biology research, demonstrating the ability to engage curiosity and inspire an audience while also conveying scientific content alongside the nuanced and complex world of modern evolutionary biology.

Nature's beauty versus urban bustle: Chinese folk music influences food choices by inducing mental imagery of different scenes

Previous research has demonstrated that music can impact people's food choices by triggering emotional states. We reported two virtual reality (VR) experiments designed to examine how Chinese folk music influences people's food choices by inducing mental imagery of different scenes. In both experiments, young healthy Chinese participants were asked to select three dishes from an assortment of two meat and two vegetable dishes while listening to Chinese folk music that could elicit mental imagery of nature or urban scenes. The results of Experiment 1 revealed that they chose vegetable-forward meals more frequently while listening to Chinese folk music eliciting mental imagery of nature versus urban scenes. In Experiment 2, the participants were randomly divided into three groups, in which the prevalence of their mental imagery was enhanced, moderately suppressed, or strongly suppressed by performing different tasks while listening to the music pieces. We replicated the results of Experiment 1 when the participants' mental imagery was enhanced, whereas no such effect was observed when the participants' mental imagery was moderately or strongly suppressed. Collectively, these findings suggest that music may influence the food choices people make in virtual food choice tasks by inducing mental imagery, which provides insights into utilizing environmental cues to promote healthier food choices.

Understanding Musical Beauty

An exploratory study was conducted investigating the concept of beauty related to music listening—“musical beauty.” The study implemented an online qualitative questionnaire aimed to evaluate how listeners construe the concept of beauty, the pieces of music considered to be beautiful, and the intrinsic and/or extrinsic features that listeners attribute to musical pieces being considered as “most beautiful.” Analysis of long-answer responses provided by English-speaking participants ( n = 32) reveals the way that listeners characterize “musical beauty” and contributes to empirical evaluation of musical aesthetic experiences. Listeners in this study construe beauty in two ways: one construal emphasizes the perceivable or recognizable intrinsic features of the piece of music, while the other emphasizes the affective or emotional extrinsic features of their listening experience.

MUSIC GENERATION USING NEURAL NETWORK

This study investigates the utilization of recurrent neural networks (RNNs) for generating music through MIDI files. By encoding musical data into sequences, RNN models are trained to learn patterns and structures inherent in compositions. Through the analysis of MIDI data and the evaluation of generated sequences, the effectiveness of RNNs in autonomously creating cohesive musical pieces is explored, advancing the frontier of AI-driven musical composition. Keywords—Music Generation, Long Short-Term Memory, Recurrent Neural Network, MIDI data .

Hierarchical syntax model of music predicts theta power during music listening

Linguistic research showed that the depth of syntactic embedding is reflected in brain theta power. Here, we test whether this also extends to non-linguistic stimuli, specifically music. We used a hierarchical model of musical syntax to continuously quantify two types of expert-annotated harmonic dependencies throughout a piece of Western classical music: prolongation and preparation. Prolongations can roughly be understood as a musical analogue to linguistic coordination between constituents that share the same function (e.g., ‘pizza’ and ‘pasta’ in ‘I ate pizza and pasta’). Preparation refers to the dependency between two harmonies whereby the first implies a resolution towards the second (e.g., dominant towards tonic; similar to how the adjective implies the presence of a noun in ‘I like spicy … ’). Source reconstructed MEG data of sixty-five participants listening to the musical piece was then analysed. We used Bayesian Mixed Effects models to predict theta envelope in the brain, using the number of open prolongation and preparation dependencies as predictors whilst controlling for audio envelope. We observed that prolongation and preparation both carry independent and distinguishable predictive value for theta band fluctuation in key linguistic areas such as the Angular, Superior Temporal, and Heschl's Gyri, or their right-lateralised homologues, with preparation showing additional predictive value for areas associated with the reward system and prediction. Musical expertise further mediated these effects in language-related brain areas. Results show that predictions of precisely formalised music-theoretical models are reflected in the brain activity of listeners which furthers our understanding of the perception and cognition of musical structure.

Concurrent musical pitch height biases judgment of visual brightness

The integration of music sounds with concurrent visual scenes or objects is a occurrence in our daily lives, attracting the attention of researchers investigating how music influences our perceptions of simultaneous visuals. This study specifically investigates the role of musical pitch height in shaping our judgments of visual brightness during concurrent music–visual events. Participants were presented with pitch-modified versions of a wide range of emotional music pieces alongside various visual stimuli. The results demonstrate that lower-pitched music tends to elicit darker judgments of visual objects than higher-pitched music, when the actual visual brightness level remains constant. These findings suggest the influence of musical pitch height on introducing biases in our evaluations of visual brightness within the context of concurrent music-visual experiences, contributing to the advancement of our theoretical understanding of the complex audiovisual integration involving music in our everyday lives.

초등 음악 교과서 정간보 용례 분석을 통한 정간보 용어 재정립 방안 모색

Jeongganbo (井間譜), a notation method that replaces the time value of the sound with the area of space by creating a space in the shape of the letter ‘jeong’ (井), is characterized by the uniqueness that requires notating one or more musical elements, such as pitch, rhythmic pattern, playing technique, and lyrics, in each space. Due to the fundamental characteristics of jeongganbo, various types of jeongganbo have been developed and utilized in Korean traditional music education of general schools, but research on names or conceptual errors indicating various types of jeongganbo has not been conducted, raising the need for research. Accordingly, this study reviews the terminology and concepts of jeongganbo presented in the current 8-9 types of elementary school music textbooks, further analyzing the use of various jeongganbo types and seeking ways to redefine jeongganbo terminology for effective discrimination of the current single name of jeongganbo. The results of the study are summarized as follows. First, there are some errors in the concepts of jeongganbo stated in dictionaries and compendia, including the statement that the pitch in addition to the time value is notated. In addition, the concept of jeongganbo presented in the current elementary school music textbooks was mainly presented to teach 5th and 6th graders how to play traditional wind instruments, danso and sogeum. While 7 types of the textbooks is relatively accurate in using it, 1 type makes an error. Second, the result of the analysis after classifying the types of jeongganbo used in the current 8-9 types of elementary school music textbooks according to the notation type and notation method of notation content (music elements) is that the notation form of jeongganbo is divided into vertical and horizontal types. The result of classifying and examining the use of jeongganbo according to the way musical elements such as syllable of rhythmic patterns, name of pitch, melodic line, lyrics and others are notated is that various types of jeongganbo for a whole musical piece, one rhythmic pattern beat, or one line have been developed and they are widely used across 3rd to 6th grades, depending on the instruction content or instruction stage. Third, there are the principle of generating terms to differentiate and refer to various types of jeongganbo. First, there is separation by notation type; second, separation by notation method of music element; third, separation by the level of notation method even for the same musical element; fourth, unification of terms in the case of the same functional notation method of a single music element; and fifth, it is referred as jeongganchongbo when two or more musical elements are combined. The names of many jeongganbo created by these principles are classified into sub-concepts such as ‘horizontal/vertical jeongganbo’, ‘horizontal/vertical jeongganchongbo’, ‘horizontal/vertical gueum-jeongganbo’, ‘horizontal/vertical yulja-jeongganbo’, ‘horizontal/vertical garakseonjeongganbo’, ‘horizontal/vertical gasa-jeongganbo’, and ‘horizontal/vertical gita-jeongganbo’; and all these sub-concepts leads to the higher concept, jeongganbo. It is assumed that various types of jeongganbo will continue to be developed and utilized in the future, which is a phenomenon that highlights the inherent characteristics of jeongganbo as an open score, and its infinite succession and development is expected.

The effect of background Turkish music on developing and supporting intrinsic motivation in preschool period

AbstractThis study aimed to examine the effect of Turkish Music, which is played in the background in preschool education environments, on the intrinsic motivation levels of children in the preschool period. The study used a “quasi-experimental pretest-posttest control group design with retention test”, one of the quantitative research models. The study group of the study consists of 21 children aged 48–72 months, who were selected by purposive sampling method, attending the kindergartens of primary schools affiliated to the Ministry of National Education in the city center of Tokat, Türkiye. The “Motivation Scale for Preschool Children (DMQ18)” was employed as a data collection tool to measure the motivation levels of children. In the study, while routine training activities were applied in the experimental group, Turkish Music pieces selected in accordance with each activity were played in the background. In the experimental group, background Turkish Music was played five days a week for four weeks. In the control group, the teacher practiced only daily activities. The study found a significant difference between the control and experimental group post-tests in favor of the experimental group. The study contributed to the literature as the first study to reveal that Turkish Music, which is played in the background during activities in preschool educational environments, makes a significant contribution to the intrinsic motivation levels of children.

Ethnomusicology, Folklore, and Social Relevance. By Josep Martí. Translated by Peter Collins

This article raises the need for (Spanish) ethnomusicology to replace rigid nineteenth century approaches with renewed anthropological and sociological concepts and analytical tools, Through the notion of “social relevance,” the author responds to this need and advocates for the study of horizontal influence (dynamic, meaningful), rather than vertical roots (ancestral, quasi-sacred) in a musical repertoire. “Social relevance” would be the academic opposite to “cultural paternity” (as ethnic ascription), prioritizing the importance that a song, instrument, or dance has for a community in a specific moment. Therefore, the main task of an ethnomusicologist is to understand the musical life of a society, because the relevance does not depend on music itself, but on its context. Consequently, the concept of social relevance rejects perceptions of popular music studies as marginal, and instead accepts the study of popular music as a discipline that deserves full scholarly attention, eliminating mythologized hierarchies of elite groups. The article discusses how social relevance manifests in three interrelated dimensions: meaning, or how a musical piece is perceived; the uses to which it is put; and its social functions. These analyses apply to different genres such as opera, jazz, rock, folk, classical, and avant-garde music, and point out the universal attributes they all share according to the principle of their social relevance.&#x0D; Citation:&#x0D; Originally published in Spanish as “Etnomusicología, folklore y relevancia social.” In Actas del I Congreso de la Sociedad Ibérica de Etnomusicología, edited by Jordi Raventós, 11-22. Barcelona: La mà de Guido, 1996.&#x0D;

Design and Implementation of Automatic Music Composition System Based on Deep Learning

Recently, there has been a notable increase in interest surrounding the utilization of Deep Learning Approaches for AMCS in recent times. However, current methods often lack coherence and authenticity in the generated music. This study proposes a new approach that utilizes RNNs to bridge the gap between traditional compositional methods and modern deep learning techniques. The goal is to produce expressive and coherent musical pieces. Our methodology involves designing and implementing a customized RNN architecture that can effectively capture the complex temporal dependencies present in musical sequences. We experiment with different types of including LSTM networks, RNNs, and GRUs, to overcome challenges such as vanishing gradients and better model longer-term dependencies in music. To train the neural network efficiently and improve model convergence, various deep learning optimizers are utilized in our system. Specifically, we use SGD optimizer to improve the hyper parameters of LSTM and GRUs. The data for training is converted into MIDI format and analyzed, with music lines being identified through a similarity matrix technique. The MIDI data is then prepared for use in the LSTM and GRUs networks. The resulting music is assessed using both objective measures, such as mean squared error, and subjective approaches. This research adds to the advancements in automatic music composition by demonstrating the capability of RNNs in capturing and producing complex musical arrangements.