Set Of Songs Research Articles

Music Recommendation System Using Machine Learning

In our project, we will be using a sample data set of songs to find correlations between users and songs so that a new song will be recommended to them based on their previous history. We will implement this project using libraries like NumPy, Pandas.We will also be using Cosine similarity along with CountVectorizer. Along with this,a front end with flask that will show us the recommended songs when a specific song is processed.

The Listener's Gallery

The Listener's Gallery Gregory Berg (bio) Dreams of a New Day: Songs by Black Composers. Will Liverman, baritone; Paul Sánchez, piano. (Cedille 90000 200; 60:52) Damien Sneed: "I Dream a World." Henry Burleigh: Five Songs of Laurence Hope: "Worth While," "The Jungle Flower," "Kashmiri Song," "Among the Fuchsias," "Till I Wake." Leslie Adams: "Amazing Grace." Margaret Bonds: Three Dream Portraits: "Minstrel Man," "Dream Variation," "I, Too." Thomas Kerr: "Riding to Town." Shawn E. Okpebholo: Two Black Churches: "Ballad of Birmingham," "The Rain." Robert Owens: Mortal Storm: "A House in Taos," "Little Song," "Jaime," "Faithful One," "Genius Child." Richard Fariña: "Birmingham Sunday." Black lives matter. One would hope that nobody would hesitate to endorse such a simple, straightforward and seemingly unassailable statement. Then again, if we have learned anything over the last few years, it is that there are many people who simply cannot bring themselves, for whatever reason, to embrace those three simple words. (How odd that the phrase, "Black is beautiful," first coined more than fifty years ago, seems to have generated far less consternation over the years.) That difficult reality makes this new release, Dreams of a New Day, all the more important and perfectly timed. Indeed, this may be the single most important recording of Black art songs ever released. In the personal statement that precedes the program notes, baritone Will Liverman calls this a "passion project." One clearly senses passion in every aspect of this release, including his singing. Liverman is one of the most spectacularly talented baritones before the public today. His upcoming engagements include the starring role in the most hotly anticipated work of the Metropolitan Opera's 2021–22 season, the world premiere of Terence Blanchard's Fire Shut Up in My Bones. This will be the first time that the Met has staged an opera by a Black composer. That Liverman has been entrusted by the Met with such an important assignment speaks volumes about his exceptional skills, as well as the high regard in which he is held. His singing is a bit reminiscent of a young George London both in the stunning opulence of his sound as well as in the ferocious and fearless intensity of his expressiveness. But Liverman is not afraid to spin delicate phrases when called upon, and some of the most memorable moments from this recording come with his gentlest singing. Liverman is a singer who always has something compelling to say and has just the tools with which to say it best. Pianist Paul Sánchez offers assured and sensitive support at every turn. No singer could ask for a better artistic partner. The single biggest revelation here comes with Five Songs of Laurence Hope by Henry Burleigh (1866–1949). Most of us only know his name (if at all) for his many effective arrangements of spirituals. In fact, Burleigh's legacy includes a large number of art songs, many of which remain completely unknown to the public. These five songs, composed in 1915, are unabashedly romantic, and Liverman sings them with joyous relish and with enough voice to crown every extravagant climax. Leslie Adams's "Amazing Grace" is cut from similar cloth, and it is Liverman's unapologetic embrace of the song's emotionality that makes it work as well as it does. Margaret Allison Bonds (1913– 1972) is the composer here who most deserves far wider recognition than she has been given thus far. This Chicago born dynamo followed in the footsteps of her mentor, Florence Price, by breaking down more than a few doors that had long been closed both to Black as well as female musicians. She was also a tireless champion for other Black composers, and was an effective teacher to younger composers, such as Ned Rorem. She is perhaps best known for her frequent collaborations with Black writer and poet Langston Hughes, and set many of his works to music over the course of their thirty year friendship. Three Dream Portraits, from 1959, can easily stand with the finest song sets written in the second half of the twentieth century. Bonds clearly understood the relentless hunger for justice at the heart of Hughes's...

Text-setting in Kaytetye

Singing is a universal human activity. Across the vast range of song traditions throughout the world, native speakers have consistent intuitions about how the syllables in a given line of song text should be set to the tunes and/or rhythms within their various song traditions. This paper presents an Optimality Theoretic analysis of text-setting in a set of ceremonial songs traditionally sung and passed on orally by groups of Kaytetye-speaking women in Central Australia. Australian Aboriginal songs are renowned for the degree to which they diverge from speech. For our analysis, we use a computational method to exhaustively generate all permitted ways sung forms may diverge from their spoken equivalents along with all possible ways each form may be set to rhythm. We show that the seemingly idiosyncratic nature of text-setting strategies in this song set can be accounted for through a relatively generic set of constraints (even when thousands of competing candidates are considered), reflecting many of the fundamental processes that govern the interaction of language, meter, and music.

Dieva mīlestības koncepts saistībā ar bāreņu tēmu latviešu tautasdziesmās

The Latvian folk songs include the version of God’s love and the concept of God as a creative creature, which I will see in relation to the subject of mourning, pregnant women, orphans (for the sake of clarity, orphans) as a particularly sensitive reflection of society. The poetic layer of these songs reveals Latvian mentality, basic ethical and aesthetic values, and the nation’s understanding of God’s love for the most vulnerable members of society, using vivid symbolism and metaphors. Orphans do not question the existence of God, they see it as a comprehensive, unifying, self-respecting, compassionate, and understanding creature. We do not find proof that there is no God at all. In symbolic images, there is a proven belief in one God you understand. In this sense, there is a similarity with the assumption of process theology about God’s existence as an open concept in a situation where it is impossible to offer any other proof of God’s existence. In their lives, orphans encounter God as a responsive, creative, optimistic love; God encourages an orphan to learn, be smart, be morally complete, live with pleasure, not indulge in pessimism, and be creative. The abstract nature of God is depicted in two ways. On the one hand, God has all the power that a creature may have; on the other hand, God does not have all the power that exists because the creatures he creates also have the power that allows them to choose good or evil opportunities in their own lives. Evil is the choice of people to be cruel to the weaker. The folklore researchers also believe that this set of folk songs belongs to the most realistic, even natural songs because they are based on the direct observation of life, express frustration with this life, and the desire to make what they want into reality seeking support from God. In this situation, God is both responsive and compassionate to a human and a person who does not interfere in events. The orphan must learn to see the positive power of the love offered by God and, together with God’s involvement, to discover human self-worth, create the beautiful, seek creative self-fulfilment and creativity as the most desirable expression of spiritual existence. God exists as the originator of this process.

Singing the nature - еthnobotanical knowledge in Bulgarian folk songs

Background: Bulgarian poetic folklore reflects an agrarian culture deeply connected with land and nature. However, traditional ecological knowledge (TEK) transmitted through Bulgarian folklore is scarcely assessed. Questions: What are the dimensions of the TEK related to plant diversity (native and introduced) that appear in Bulgarian folk songs and what is their potential as transmitters of ТЕК? Data description: The lyrics of 10,113 Bulgarian folk songs were excerpted from major academic collections and a set of unpublished songs. Study site and dates: Current study covers songs that have been documented since mid-19th century onwards in the present and former Bulgarian territories and in areas that have been inhabited by ethnic Bulgarians abroad. Methods: Common plant names and descriptions of plants and landscapes were used to detect botanical affiliations of the denoted plants. We focused on frequencies of plant representations and their functions associated with cultural, agricultural and food-processing practices. Results: A total of 146 plant taxa from 109 genera were mentioned in 47.3 % of the studied songs. Over 60 % of the most frequently mentioned taxa were archaeophytes while neophytes were represented by seven taxa, denoting everyday and spiritual importance of nature. Conclusions: Bulgarian folk songs presented wide range of nature-related information typically reported for ethnic groups outside Europe. Quantification of TEK preserved in documented poetic folklore and further assessment of performance of nature-rich folklore would allow development additional tools for evaluation of cultural significance of species, landscapes and ecosystems as well as for development of educational and inspirational materials.

The Evaluation of Musical Influence and Evolution

Music, which has evolved for thousands of years, plays an important role in social culture. To understand musical evolution, we need to measure the influence of previous music on new music and examine the revolutionary shift over the past years. We prepare the sets of artists, songs and genres as 3 basic types of music carriers. Together with music features and time, we have several 3-dimentional attribute matrices describing the musical properties during different time spans for artists and songs. Artists, songs and genres also have pairwise embeddings and they have internal one-to-one influencer-to-follower relationships.

Person Identification From Audio Aesthetic

Behavioral biometrics survey actions rather than the physical traits of the person. Within this categorization, social behavioral biometrics utilizes an individual's communications for biometric analysis. The investigation of the uniqueness of human preferences and their implications to other aspects of an individual, such as personality or gender, is both a psychological and a biometric problem. An emerging approach is the usage of an individual's aesthetic preferences for the purpose of person identification. Recent research into the identification from visual aesthetics has found that these preferences hold significant discriminatory value. However, aesthetic identification has only been conducted through a visual medium via a set of liked images. The contribution of this work is the development of the first audio aesthetic preference system for person identification. The proposed system extracts descriptive intra-song and inter-song features from a set of songs favored by users and utilizes an ensemble of classifiers for prediction. The final decision is optimized by a genetic algorithm. Experimental results demonstrate that the developed audio aesthetic system achieves 95% user recognition accuracy on both proprietary and public audio datasets.

Словесно-поэтический репертуар башкирской свадьбы: прошлое и настоящее

Introduction. Bashkir wedding is one of the most striking forms of traditional culture. Over centuries of evolution, a complex set of ideological and functional related ritual songs, actions, myths and rituals has formed as an integral festive and theatrical performance. This surprisingly unique performance (drama) reflects the worldview of the people, their poetic and musical culture, including peculiarities of social, everyday and social development. The ideology of caring for the welfare of the family and happy family future has been developed and vividly captured in the wedding rituals. Genotypic plans for the continuation of life, creating a sustainable family in order to ensure continuity and fertility of the new family member ― sister–in–law ― is a major determining code of the Bashkir wedding manifested in the complicated mytho-ritual complex tui (wedding, feast). In it, a large role is given to verbal and song contests (Bash. әйтеш), lamentations (сеңләү), good wishes (теләк, алғыш), ‘yar-yar’ chants, magnificence and farewell songs (takmaks) which are organically woven into the course of the wedding to create a festive atmosphere, give special importance to everything that happens. These work of art have various and rather complex functions, since they not only accompany various moments of the wedding celebration, but also reflect ancient mythological ideas, belief in the power of words and actions. The verbal, song and action creative complex acts as a single syncretic whole with what is happening. Goals. The article examines the role of verbal and poetic works in various parts of the wedding ceremony. They are distinguished by a variety of texts and tunes dedicated to various moments of the wedding and ritual actions addressed to the bride and groom (mostly). Results. The ritual of good wishes goes back to the magic of a kind word, which in general in all types of rituals involves the structuring of events in the name of blessings and the consolidation of a happy future. The article traces the reflection of the emotional state of the bride in various poetic texts, which determines the importance of the moment of the girl’s transition to a qualitatively different state of marriage; the importance of the special semantic load of the songs of the Bashkir wedding for the future family life is noted. In all cultures, edification, parting words generalize the prescriptions and rules of behavior for young people. There are two main places of well-wishes in the wedding drama: in front of the wires from the father’s house (girdling) and in the groom’s house (opening the face). Good wishes and edifications, pronounced in the rites of transitional meaning, represent a kind of collection of etiquette, everyday life and traditions of the people. This is the poeticized wisdom and life experience of people who want the well-being of a girl who goes into a ‘foreign’ environment. In a Bashkir wedding, songs of a greatness, entertaining or humorous nature are performed, which are organically included in the drama of the wedding action and become an integral part of the ceremony as a whole.

The Psalms as Christian Praise: A Historical Commentary

The Psalms as Christian Praise: A Historical Commentary

Markov dependencies in the song syntax of Hermit Thrush (Catharus guttatus)

The sequences in which songbirds deliver their songs may help serve song’s primary functions related to territorial defense and mate attraction but determining that requires a clear understanding of the syntax of the species in question. Hermit Thrush (Catharus guttatus) males sing with a degree of predictability, cycling up and down the frequency spectrum with immediate variety. The present work used two complementary approaches to better understand Hermit Thrush song syntax by investigating the degree to which song type choice relies upon the identity of preceding songs within large (> 1000) song sets from 12 males. In one analysis, Fisher’s tests were used to assess whether the song immediately before the next song—or two, three, or four spots before it—influenced the next song. Results indicated that the next song is influenced by both the previous song and the one before it, and less so by those three or four songs back. In addition, simulated sequences were generated that reflect Markov models from zero-order (the next song depends on no preceding songs) through fourth-order (it depends on the previous four songs), and then compared back to the bird’s observed song sequence. This analysis revealed that naturally occurring sequences are best described by second-order Markov models, indicating a reliance upon the previous two songs. Together, the results indicate that Hermit Thrush song sequences are determined mainly by preceding two songs. Future work will further explore the presence of higher level dependencies, along with the role of syntax in territorial defense and aggression.

Music recommendation based on acoustic features from the recording studio

Producers of Electronic Dance Music (EDM) typically spend more time creating, shaping, mixing and mastering sounds, than with aspects of composition and arrangement. They analyze the sound by close listening and by leveraging audio monitoring tools, until they successfully created the desired sound character. DJs of EDM tend to play sets of songs that meet their sound ideal. We use audio monitoring tools from the recording studio to retrieve the sound ideal of the most popular DJs and perform a DJ classification, e.g., to predict “what your favorite DJ would play.” The features include third-octave band VU, RMS and crest factor meters, phase scope, and the channel correlation coefficient. This new set of features and the focus on DJ sets is targeted at EDM as it takes the producer and DJ culture into account. With simple dimensionality reduction and machine learning these recording studio features enable us to attribute a song to a DJ with an accuracy of 63%. The features from the monitoring tools in the recording studio could serve for many applications in music information retrieval, such as genre, style and era classification for music browsing, automatic playlist generation and music recommendation, especially in electronic dance music.

Expression X: Emotion Based Music Recommendation System

This Paper proposes method to recommend a set of songs based on the facial emotion state of the user. Emotion state of the user is detected with the help of google mobile vision SDK. The detected emotion state is fed to Expression-X algorithm that would sort the music (based on emotion value is keyed in) and generates a playlist which suites the emotion state of user. Since emotions are calculated based on the facial expression of a user, achieving 100% accuracy is undoubtedly hard as everyone has their own way of expressing emotions facially, with repetitive testing we have achieved 70–75% success rate in detecting the rite emotion state of the user, and generating the suitable set of song recommendation.

Pairwise influences in dynamic choice: network-based model and application

ABSTRACT In this paper, we study the problem of network discovery and influence propagation, and propose an integrated approach for the analysis of lead-lag synchronization in multiple choices. Network models for the processes by which decisions propagate through social interaction have been studied before, but only a few consider unknown structures of interacting agents. In fact, while individual choices are typically observed, inferring individual influences – who influences who – from sequences of dynamic choices requires strong modeling assumptions on the cross-section dependencies of the observed panels. We propose a class of parametric models which extends the vector autoregression to the case of pairwise influences between individual choices over multiple items and supports the analysis of influence propagation. After uncovering a collection of theoretical properties (conditional moments, parameter sensitivity, identifiability and estimation), we provide an economic application to music broadcasting, where a set of songs are diffused over radio stations; we infer station-to-station influences based on the proposed methodology and assess the propagation effect of initial launching stations to maximize songs diffusion. Both on the theoretical and empirical sides, the proposed approach connects fields which are traditionally treated as separated areas: the problem of network discovery and the one of influence propagation.

The genre of folk song settings: the ways of interaction of traditional and professional musical art

The genre of folk song settings: the ways of interaction of traditional and professional musical art

Chipper: Open‐source software for semi‐automated segmentation and analysis of birdsong and other natural sounds

Abstract Audio recording devices have changed significantly over the last 50 years, making large datasets of recordings of natural sounds, such as birdsong, easier to obtain. This increase in digital recordings necessitates an increase in high‐throughput methods of analysis for researchers. Specifically, there is a need in the community for open‐source methods that are tailored to recordings of varying qualities and from multiple species collected in nature. We developed Chipper, a Python‐based software to semi‐automate both the segmentation of acoustic signals and the subsequent analysis of their frequencies and durations. For avian recordings, we provide widgets to best determine appropriate thresholds for noise and syllable similarity, which aid in calculating note measurements and determining song syntax. In addition, we generated a set of synthetic songs with various levels of background noise to test Chipper's accuracy, repeatability and reproducibility. Chipper provides an effective way to quickly generate quantitative, reproducible measures of birdsong. The cross‐platform graphical user interface allows the user to adjust parameters and visualize the resulting spectrogram and signal segmentation, providing a simplified method for analysing field recordings. Chipper streamlines the processing of audio recordings with multiple user‐friendly tools and is optimized for multiple species and varying recording qualities. Ultimately, Chipper supports the use of citizen‐science data and increases the feasibility of large‐scale multi‐species birdsong studies.

Аутентичные французские песни как средство развития языковой компетенции студентов-нефилологов

In pedagogy songs have long been treated as an effective tool to raise motivation and memory. The article highlights the options for working with authentic French songs in a language classroom to reveal their potential for forming and developing the linguistic competence. To achieve this goal the authors consider the set of songs correlating with the curriculum, offer a system of exercises and tasks to develop linguistic competence and discuss the results of the experimental study demonstrating the efficacy of using French songs for certain teaching purposes.

“With middal smal and wel ymake”: Objectification and Power in Medieval English Love Songs

Through reading sets of medieval love songs one can notice trends that are connected to the conventions of fin’amor or courtly love. Troubadours, medieval French poets, would compose and sing songs that reflect the trends of courtly love during the time period. Within the lyrics of these songs there are two main trends when it comes to the objectification of the female beloved. First, they spend a great deal of time in describing the physicality of the beloved, but make no inferences or connections to her interior life—going so far as to animalize her. Even when those beautiful features may be manufactured, their artificiality still supersedes her personhood. Second, they use the lyric technique of reprisal to formally reinforce sense of woman as inanimate. Using the anonymous “Alison” and Geoffrey Chaucer’s “Complaint to his Purse” as example cases, in this essay I demonstrate the techniques that effect this displacement of power, as well as how they are still prevalent in popular music today. Faculty Sponsor: Dr. Elizabeth E. Tavares

Amoeba People Find a Niche for Nerdy Science Music

The group’s rocking new album, The Fossil Record, includes a genre-bending set of songs that helps make science foot-tapping fun.

The Song Is Still a ‘Weapon’: The Portuguese Identity in Times of Crises

This article examines a set of Portuguese songs that ‘sing’ the economic, financial and social crises in Portugal in the post-2008 period. This work underlies a heuristic principle: to demonstrate how artistic manifestations—in this case, the songs in several (sub-)genres of popular music—are themselves a means and an object of social intervention, demarcating a specific, defined space in the acknowledgment and revelation of social problems, and in the contestation, deconstruction and accusation of problems that deal with social reality. We demonstrate that these songs seek to denounce and sometimes incite social change with the aim of creating transformation. They are therefore signs of a specific space—identity producers—and not just an echo of social reality. Insurgent songs instigate readings, narratives and deconstructions of reality, and they are simultaneously significant elements of a collective identity.

Pieśni bożonarodzeniowe w luterańskim kancjonale toruńskim

The outline addresses the set of songs included in one of the editions of the Toruń cantional by Petrus Artomius (1601). The small extract of the text provided the opportunity to grasp the range and nature of the changes taking places in the Old Polish language when the Polish culture was affected by the Reformation. For this reason, the author attempted to indicate the origin of the works and to trace the edition modifications introduced in the text with particular emphasis on linguistic alterations. In the cantional there appear texts rooted in the Polish Catholic tradition of religious songs (e.g. XVII, XX, XXI, XXVI, XXVII), translations of Protestant carols of Martin Luther known from earlier songbooks (e.g. XXX, XXXII, XXXVI); however, they are often new, modified versions of the songs. In comparison with the first edition of the cantional, the discussed edition was somewhat reorganized, which may be observed in the editor’s attempt to modernize the language of the songs. On the basis of the presented description of philological- stylistic nature one may conclude that the language of the old Protestant community of Toruń did not differ significantly from the Old Polish language of the time. On the one hand, the texts included in the cantional refer to medieval songs stylistically and linguistically. On the other hand, they illustrate the popularity and universality of Polish songs used in religious practices of Protestants, not only Lutherans.