Search results for: community of musical practice

Authors: Eudjen Cinc, Mircea Maran, Jasmina Stolic

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Viewed through the prism of folkloristics – ethnomusicology, the majority of didactic musical games belong to the category of folklore creative work of children, such games can be extremely useful for the development of musical ability in the preschool age. The paper gives a number of examples from the Romanian children folklore which were used in practice.

Keywords: musical games, children folklore, rhythmical system, melodica

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Authors: Mohd Hassan Abdullah, Mohd Azam Sulong, Mohd Nizam Nasrifan, Nor Azman Mohd Ramli, Suflan Faidzal Arshad

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The Bajau Samah is a maritime ethnic community that inhabits the west coast of Sabah, Malaysia. The majority of these ethnicities embrace Islam and practice their own culture. Bertitik music ensemble is one of the musical practices performed in various social events, especially weddings. The ensemble, which combines several musical instruments including gongs, drums and kulintangan is played by six musicians to accompany various social events in the community. The position of the Bajau Samah in a multi-ethnic community such as Kadazandusun, Rungus, Suluk, Malay, Iranun and others exposes to the cultural activities with various artistic elements of the surrounding community. Western influences have also played an important role in the process of hybridity and acculturation in this society. Cultural change and the influx of foreign cultures have threatened the sustainability of this musical practice. This study aims to musicologically analyze the elements of bertitik ensemble that form the uniqueness of the cultural identity of the Bajau Samah Ethnic group. An ethnomusicological approach has been used to parse the essence of the bertitik music repertoire in depth. Ethnographic study design which comprises fieldwork, interviews, observations and document analysis as the main methods were utilized to collect data. Music recordings were transcribed in the form of musical notation and then analyzed based on the theory of "the norms of musical styles". This study reveals that musical elements featured in the ensemble represent the symbol and cultural identity to this ethnic group. The findings of the study were documented in the form of musicological analysis, audio and video as well as transcriptions of the musical notation of the repertoire of the music ensemble. This study is in line with the National cultural policy gazetted by the government, which is "Conservation, preservation and development of culture towards strengthening the foundations of National Culture through joint research, development, education, expansion and cultural relations" It will benefit various parties including students, teachers, academics, cultural arts activists and so on towards preserving the nation's cultural heritage as well as strengthening the spirit of nationhood among the people of various races and ethnic group in Malaysia.

Keywords: ethnomusicology, ethnic music, Malaysian music, cultural identity

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Authors: Olupemi E. Oludare

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This paper investigates the creative practice engaged in Juju music, a Nigerian Neo-traditional genre of the Yoruba, and its influence on the consciousness of societal praxis. It takes a musical and cultural perspective, as representational indices of how the people’s religious, social, educational, and political consciousness is expressed in their music. The study adopts the historical cum descriptive design in its methodology, tracing the historical development of Juju music, the appropriation of musical and cultural materials in its creative process, and a descriptive analysis of its musical practice, in order to substantiate the role and function of Juju music and its musicians in the political, philosophical, and social consciousness of Nigeria’s pre- and post-independence epoch. Data were collected through oral interviews of selected Juju practitioners, stakeholders, and enthusiasts. It also employed the use of discography of Juju musicians. This paper discusses musical factors such as form, melodic and rhythmic patterns, and thematic materials, while highlighting cultural factors such as linguistic elements, with textual analysis, as a conscious avenue of expression. The study revealed that Juju musicians composed their music by engaging both indigenous and foreign musical materials, as a means of creative practice for musical entertainment, while expressing the people’s consciousness of their beliefs, values, and socio-political issues, hence the music functioning as a vehicle for social commentaries. The popularization and commercialization of Juju music brought the musicians national and international accolades, subsequently attracting contributions from contemporary musicians, which led to innovations of new brands, such as ‘Afro-Juju’, ‘Gospel-Juju’, ‘Hip-Hop-Juju’, etc., albeit retaining the basic musical elements of its progenitor, as a conscious music for socio-cultural functions. This study concludes that Juju music and its musicians remain germane in the musical scene of the nation’s social, educational, and political terrain, especially in the current Nigerian democratic climate. This paper recommends the promotion and patronage of the Juju music in its original form, to prevent its decline in current times, since it serves as an enrichment of national identity both in Nigeria, and Internationally.

Keywords: appropriation, consciousness, creative practice, national identity, neo-traditional

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Authors: Rewadee Ungpho

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The research on the musical culture of Sea Gypsies in Bulon archipelago, Satun Province, is considered as an anthropology research. Research objectives were to study the history and information culture and also to find the basis information for the restoration and preservation of the music culture of Sea Gypsies who live in Bulon archipelago. Findings of the research are as follows: 1) Musical characteristics of Sea Gypsies in Bulon archipelago is still traditional. It does not mix with any external musical influence such as musical instruments, language, and other musical characteristics. There are various kind of songs which can play a complete melody and rhythm, including a total of 8 songs as follows; Lagu-Ayam-Dide, Lagu-Sitipayong, Lagu-Bulong-pute, Lagu-Chemamat, Laguduwo, Lagu-Ma-I-nang, Lagu-Mana-Ikan. 2) The roles of culture/music in Bulon archipelago correlate with Urak Lawoi society. They use music in the ceremony of votive offering, in the floating ceremony held in Lipe Island and in various festivals. Therefore, music is a spiritual sacrifice and a spiritual instrument that conveys an Urak Lawoi, which makes the Urak Lawoi still unique and has a sense of ethnic identity. 3) The inheritance of Urak Lawoi music is still being made in a traditional way, as an oral tradition with no record. The teaching and learning must be one on one, and it required length of time to practice and accumulate the knowledge. Due to above mentioned reasons, a few people attend in the inheritance. Those who are interested may not be able to practice constantly. As a result, there is only a few, or even none, descendants left.

Keywords: sea gypsy, music, Bulon archipelago, ethnomusicology

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Authors: Mohammed Talib Alkiyumi

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The Sultanate of Oman is characterized by a huge musical heritage that remains mostly preserved. 142 different traditional musical genres and styles (funun) have been registered in the Sultanate. This large number is a unique phenomenon that is worthy of attention and study. These genres and styles are different from others in their origins, rhythms, melodies, poetry, dance movements, etc. Certainly, Oman is exposed to other cultures and there is a variety of ethnicities in the Sultanate; however, this musical diversity is mostly an Omani product. This paper investigates the psychological motives behind Omani musical creativity. This qualitative study is based on relevant documents, as well as an analysis of Omani performance in those genres through documentary films and direct observations. Musical genres are performed in social events such as weddings and celebrations; however, research has shown psychological motives that motivated Omani people to create these various genres, such as provocation of enthusiasm, meditation, religious motivations, poetic competition, and emotional motivation. For each motive, musical genres have been presented.

Keywords: traditional musical, creativity, musical intelligence, Sultanate of Oman

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Authors: Parham Bakhtiari

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Musical compositions are typically examined from various perspectives, with a focus on elements such as melody, harmony, and rhythm. This study provides a comprehensive analysis of tempo indications, segmentations, and musical ideas in Wolfgang Amadeus Mozart's piano sonatas, highlighting the intricate relationship between these elements and their contribution to the overall interpretative landscape of his works. Through a detailed examination of select sonatas, the research categorizes tempo markings and explores their implications for performance practice, emphasizing how Mozart's choices reflect his compositional intentions and the stylistic conventions of the Classical era. Additionally, the segmentation of musical phrases is analyzed to reveal patterns of thematic development and transition, demonstrating how Mozart employs structural techniques to enhance expressive depth. By synthesizing these aspects, the paper aims to offer insights into the complexities of Mozart's musical language, encouraging a deeper appreciation of his sonatas both in scholarly discourse and practical performance.

Keywords: music, Mozart, piano, tempo, sonata

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Authors: Elisa Negretto

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Improvisation is a fundamental form of musical practice and an increasing amount of literature shows a particular interest on the consequences it might have in different kinds of social contexts. A relevant aspect of the musical experience is the ability to create expectations, which reflects a basic strategy of the human mind, an intentional movement toward the future which is based on previous experiences. Musical Expectation – an unconscious tendency to project forward in time, to predict future sound events and the ongoing of a musical experience – can be regarded as a process that strongly influences the listeners’ emotional and affective response to music, as well as their social and aesthetic experience. While improvising, composers, interpreters and listeners generate and exchange expectations, thus creating a dynamic dialogue and meaningful relationships. The aim of this paper is to investigate how expectation contributes to the creation of such a dialogue during the unfolding of the musical experience and to what extent it influences the meaning music acquires during the performance. The difference between the ability to create expectations and the anticipation of the future ongoing of music will be questioned. Does it influence in different ways the meaning of music and the kind of dialogical relationship established between musicians and between performers and audience? Such questions will be investigated with reference to recent research in music cognition and the analysis of a particular case: a free jazz performance during which musicians improvise and/or change the location of the sound source. The present paper is an attempt to provide new insights for investigating and understanding the cognitive mechanisms underlying improvisation as a musical and social practice. They contribute to the creation of a model that we can find in many others social practices in which people have to build meaningful relationships and responses to environmental stimuli.

Keywords: anticipation, expectation, improvisation, meaning, musical dialogue

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Authors: Krzysztof T. Piotrowski

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The main goal of the research was to investigate differences in attention in two kinds of musical performance - recall and improvisation. Musical recall is a sample of convergent production that requires intensively focused attention. Inversely, musical improvisation is a divergent task and probably requires a different way of attentional control. The study was designed in dual task paradigm. Participants were to remember a simple melody and then recall or improvise, simultaneously performing the spatial attentional test on computer screen. The result shows that improvising participants find spatial goals in more disperse way. The conclusion is that musical improvisation requires extensification of attention to occur.

Keywords: attention, creativity, divergent task, musical improvisation

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Authors: Jun-Yong Lee, Hyoung-Gook Kim

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In this paper, we propose a smart music player that combines the musical genre classification and the spatial audio processing. The musical genre is classified based on content analysis of the musical segment detected from the audio stream. In parallel with the classification, the spatial audio quality is achieved by adding an artificial reverberation in a virtual acoustic space to the input mono sound. Thereafter, the spatial sound is boosted with the given frequency gains based on the musical genre when played back. Experiments measured the accuracy of detecting the musical segment from the audio stream and its musical genre classification. A listening test was performed based on the virtual acoustic space based spatial audio processing.

Keywords: automatic equalization, genre classification, music segment detection, spatial audio processing

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Authors: Panagiotis Kosmas

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The advent of new technologies in education inspires practitioners to approach teaching from a different angle with the aim to professionally develop and improve teaching practices. Online communities of practice among teachers seem to be a trend associated with the integration efforts for a modern and pioneering educational system and training program. This study attempted to explore the participation in online communities of practice and the sharing of knowledge between teachers with aims to explore teachers' incentives to participate in such a community of practice. The study aims to contribute to international research, bringing in global debate new concerns and issues related to the professional learning of current educators. One official online community was used as a case study for the purposes of research. The data collection was conducted from the content analysis of online portal, by questionnaire in 184 community members and interviews with ten active users of the portal. The findings revealed that sharing of knowledge is a key motivation of members of a community. Also, the active learning and community participation seem to be essential factors for the success of an online community of practice.

Keywords: communities of practice, teachers, sharing knowledge, professional development

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Authors: Jessica Bogunovich, Kimberly Greene

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As a grounded theory, Professional Reciprocal Altruism in Education (PRAE) offers an empowering means of understanding how the predominant motivator of those entering the teaching profession, altruism, serves as a shared value to inspire the individual’s personal practice beyond a siloed experience and into one of authentic engagement within the Community of Practice (CoP) of professional educators. The process of aligning one’s personal values, attitudes, and preconceived cultural constructs with those of the CoP, affords the alignment of the authentic and professional self; thus, continuously fostering one’s intrinsic motivation to remain engaged in their individual continuous process of growth and development for their students, community, profession, and themselves.

Keywords: altruism, Community of Practice. cultural constructs, teacher attrition, reciprocal altruism, value congruence

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Authors: Cassandra Pratt Romero, Andres Gomez de Silva Garza

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This paper describes a computational system designed to imitate human inspiration during musical composition. The system is called MIS (Musical Inspiration Simulator). The MIS system is inspired by media to which human beings are exposed daily (visual, textual, or auditory) to create new musical compositions based on the emotions detected in said media. After building the system we carried out a series of evaluations with volunteer users who used MIS to compose music based on images, texts, and audio files. The volunteers were asked to judge the harmoniousness and innovation in the system's compositions. An analysis of the results points to the difficulty of computational analysis of the characteristics of the media to which we are exposed daily, as human emotions have a subjective character. This observation will direct future improvements in the system.

Keywords: human inspiration, musical composition, musical composition by computer, theory of sensation and human perception

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Authors: Peter S. Kim

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The increasing availability of music facilitated by new technology and open sourcing has eliminated many traditional limiting factors in musical taste, creating a culture of choice. This study tested 191 international subjects, mostly young adults more decisively shaped by emerging technologies like Facebook, the platform for the study. Using an aggregated Big Five personality test, subjects were asked to self-report on questions related to extraversion, agreeableness, conscientiousness, neuroticism, and openness. Subsequently, subjects listened to five pairs of musical works reflecting opposite extremes of one of five musical qualities: tempo (fast/slow), complexity (simple/complex), degree of dissonance (tonal/atonal), familiarity (familiar/unfamiliar), and extra-musical significance (significant/not significant). Subjects were then asked to record listening times and preferences among the selections. Strikingly, this study shows a relatively high positive correlation between agreeableness and musical preferences (predicting preferences for simple, familiar, and fast music), as compared to extraversion, openness, conscientiousness, and neuroticism. Thus, this research suggests that the not yet well-understood relationship between personality traits and musical qualities merits further study.

Keywords: music perception, psychology, cognition, musical preference

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Authors: Nutthan Inkhong, Sutthiphong Ruangchante

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Chiang Rai province is located at the northern border of Thailand. Most of the geography there is the northern continental highlands, and the population has many types of inhabitants, including Thai people, immigrants and ethnic groups such as Akha, Lahu, Lisu, Yao, etc. Most of these ethnic groups migrated from neighbouring countries such as Myanmar, Laos, China, etc. and settled in the mountains. Each ethnic group has their unique traditions, culture, and ways of life, including the musical culture that the ancestors of each ethnic group brought with them. In the present, the Akha have the largest population in the region and still live together in numerous villages in many districts. Thus, Akha musical culture still appears in the community traditions and cultural events of Chiang Rai province regularly. This article presents the situations of Akha musical culture in the present and the predictions for the future. The study method involves the analysis of music information and the related social contexts, which were collected from the fieldwork of ethnomusicological methodology by in-depth interviews, observations, audio and visual recordings, and related documents. The results found that the important persons who are related with Akha musical culture include (1) a musical instrument maker (lives in Mae Chan district) who produces various Akha musical instruments, including gourd mouth organs, Akha drums, two-way flutes, three-hole flutes, Jew’s harps (the sound of teenage love), buffalo horns (the sound symbol of hunting) and bird call instruments (the imitation of bird sounds), (2) a folk philosopher (lives in Mae Pha Luang district) who can teach music to the new generation of Akha people as well as lecture and demonstrate music to academics and tourists, and (3) a community leader (lives in Mae Chan district) who conserves Akha performances, singing and music through various activities of the students in an informal school. Because of the changes to the social contexts and ways of life of the Akha people, such as the educational system, religion, social media, etc., including the popularity of both Thai and international popular music among the new generation of Akha people, changes to and the fading away of Akha musical culture in the future may likely occur. Therefore, the conservation and inheritance of Akha music is an issue that should be resolved quickly. This primary study leads to the next step of the ethnomusicological work and plays a part in preventing or reducing the problems impacting Akha musical culture survival by the recording of Akha music in all of its dimensions, such as producing musical instruments, playing musical instruments, analysis of tuning systems, recording Akha music as musical notation using symbols, researching related social contexts, etc. and the transcription of this information to create lessons that can be returned to the Akha community.

Keywords: Akha music, Chiang Rai, ethnic music in Thailand, ethnomusicology

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Authors: Junita Batubara

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Children with special needs, especially those with disability in mental, physical or social/emotional interactions, are marginalized. Many people still view them as troublesome, inconvenience, having learning difficulties, unproductive and burdensome to society. This study intends to investigate; how musical drama can develop the ability to control the coordination of mental functions; how musical dramas can assist children to work together; how musical dramas can assist to maintain the child's emotional and physical health; how musical dramas can improve children creativity. The objectives of the research are: To know whether musical drama can control the coordination of mental function of children; to know whether musical drama can improve communication ability and expression of children; to know whether musical drama can help children work with people around them; to find out if musical dramas can develop the child's emotional and physical health; to find out if musical drama can improve children's creativity. The study employed a qualitative research approach. Data was collecting by listening, observing in depth through public hearings that select the key informants who were teachers and principals, parents and children. The data obtained from each public hearing was then processed (reduced), conclusion drawing/verification, presentation of data (data display). Furthermore, the model obtained was implementing for musical performance, where the benefits of the show are: musical drama can improve language skills; musical dramas are capable of developing memory and storage of information; developing communication skills and express themselves; helping children work together; assisting emotional and physical health; enhancing creativity.

Keywords: children Down syndrome, music, drama script, performance

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Authors: Michael J. Cutler

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This paper presents what musical boundary play can look like when beginning music learners work with professional musicians with an emphasis on composition. Music education can be re-imagined through the lenses of boundary objects and boundary play by engaging non-professional musicians in collaborative sound creation, improvisation and composition along with professional musicians. To the author’s best knowledge, no similar study exists on boundary objects and boundary play in music education. The literature reviewed for this paper explores the epistemological perspectives connected to music education and situates musical boundary play as an alternative approach to the more prevalent paradigms of music education in K-12 settings. A qualitative multiple-case study design was chosen to seek an in-depth understanding of the role of boundary objects and musical boundary play. The constant comparative method was utilized in analyzing and interpreting the data resulting in the development of effective, transferable theory. The study gathered relevant data using audio and video recordings of musical boundary play, artifacts, interviews, and observations. Findings from this study offer insight into the development of a more inclusive music education and yield a pedagogical framework for music education based on musical boundary play. Through the facilitation of musical boundary play, it is possible for music learners to experience musical sound creation, improvisation and composition in the same way an instrumentalist or vocalist would without the acquisition of complex component operations required to play a traditional instrument or sing in a proficient manner.

Keywords: boundary play, boundary objects, music education, music pedagogy, musical boundary play

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Authors: Matthias Haenisch, Marc Godau, Julia Barreiro, Dominik Maxelon

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In times of ubiquitous digitalization and the increasing entanglement of humans and technologies in musical practices in the 21st century, it is to be asked, how popular musicians learn in the (post)digital Age. Against the backdrop of the increasing interest in transferring informal learning practices into formal settings of music education the interdisciplinary research association »MusCoDA – Musical Communities in the (Post)Digital Age« (University of Erfurt/University of Applied Sciences Clara Hoffbauer Potsdam, funded by the German Ministry of Education and Research, pursues the goal to derive an empirical model of collective songwriting practices from the study of informal lelearningf songwriters and bands that can be translated into pedagogical concepts for music education in schools. Drawing on concepts from Community of Musical Practice and Actor Network Theory, lelearnings considered not only as social practice and as participation in online and offline communities, but also as an effect of heterogeneous networks composed of human and non-human actors. Learning is not seen as an individual, cognitive process, but as the formation and transformation of actor networks, i.e., as a practice of assembling and mediating humans and technologies. Based on video stimulated recall interviews and videography of online and offline activities, songwriting practices are followed from the initial idea to different forms of performance and distribution. The data evaluation combines coding and mapping methods of Grounded Theory Methodology and Situational Analysis. This results in network maps in which both the temporality of creative practices and the material and spatial relations of human and technological actors are reconstructed. In addition, positional analyses document the power relations between the participants that structure the learning process of the field. In the area of online informal lelearninginitial key research findings reveal a transformation of the learning subject through the specific technological affordances of TikTok and Instagram and the accompanying changes in the learning practices of the corresponding online communities. Learning is explicitly shaped by the material agency of online tools and features and the social practices entangled with these technologies. Thus, any human online community member can be invited to directly intervene in creative decisions that contribute to the further compositional and structural development of songs. At the same time, participants can provide each other with intimate insights into songwriting processes in progress and have the opportunity to perform together with strangers and idols. Online Lelearnings characterized by an increase in social proximity, distribution of creative agency and informational exchange between participants. While it seems obvious that traditional notions not only of lelearningut also of the learning subject cannot be maintained, the question arises, how exactly the observed informal learning practices and the subject that emerges from the use of social media as online learning technologies can be transferred into contexts of formal learning

Keywords: informal learning, postdigitality, songwriting, actor-network theory, community of musical practice, social media, TikTok, Instagram, apps

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Authors: Emilia A. Campayo-Munoz, Alberto Cabedo-Mas

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Music students have to face the challenges of musical practice -such as discipline in study, competitiveness, or performance anxiety- that require good emotional management to enable successful performance. However, few rigorous implementations focused on studying the influence of emotional skills in student's musical performance. Responding to this gap in the literature, this study aims to explore the relationship between emotional skills and musical performance in the context of elementary music education in conservatoires. Given the individual nature of the instrumental studies and the difficult availability of teachers to be trained in emotional education, it was decided to conduct a multiple case study in a Spanish music conservatoire. Author 1 carried out the implementation of the research with three 10-year-old students who were selected from her piano class. All of them attended the third year of their piano studies. The research processes consisted of the implementation of a set of specific and cross-sectional activities designed 'ad hoc' to be articulated in the subjects of individual instrument -piano- and ensemble in parallel to the contents of musical nature. The CE-360º questionnaire was used to measure different aspects of the students' emotional skills from a multi-angle perspective, each of the questionnaires being responded by oneself, three teachers and three peers, before and after the implementation. The data from the questionnaire were compared with the grades that the students obtained during the first and last quarter of the school year in the attended subjects. Acknowledging the complexity of emotional development, the results indicate possible relations between emotional skills and musical performance in music education in conservatoires. The results show that for the cases explored; there exists a relationship between emotional skills and musical performance. Although generalizations cannot be made, this study reinforces the need to further explore emotional development in instrumental teaching and suggest the importance of inviting teachers to reflect on the pedagogical practices extended in the conservatoires and to develop and implement those that promote the work of the students' emotions.

Keywords: conservatoires, emotional skills, music education, musical performance

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Authors: Lucy Lugo Mawang

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Educational Psychologists have highlighted the significance of creativity in education. Likewise, a fundamental objective of music education concern the development of students’ musical creativity potential. The purpose of this study was to determine the relationship between motivation strategies and musical creativity, and establish the prediction equation of musical creativity. The study used purposive sampling and census to select 201 fourth-form music students (139 females/ 62 males), mainly from public secondary schools in Kenya. The mean age of participants was 17.24 years (SD = .78). Framed upon self- determination theory and the dichotomous model of achievement motivation, the study adopted an ex post facto research design. A self-report measure, the Achievement Goal Questionnaire-Revised (AGQ-R) was used in data collection for the independent variable. Musical creativity was based on a creative music composition task and measured by the Consensual Musical Creativity Assessment Scale (CMCAS). Data collected in two separate sessions within an interval of one month. The questionnaire was administered in the first session, lasting approximately 20 minutes. The second session was for notation of participants’ creative composition. The results indicated a positive correlation r(199) = .39, p ˂ .01 between musical creativity and intrinsic music motivation. Conversely, negative correlation r(199) = -.19, p < .01 was observed between musical creativity and extrinsic music motivation. The equation for predicting musical creativity from music motivation strategies was significant F(2, 198) = 20.8, p < .01, with R2 = .17. Motivation strategies accounted for approximately (17%) of the variance in participants’ musical creativity. Intrinsic music motivation had the highest significant predictive value (β = .38, p ˂ .01) on musical creativity. In the exploratory analysis, a significant mean difference t(118) = 4.59, p ˂ .01 in musical creativity for intrinsic and extrinsic music motivation was observed in favour of intrinsically motivated participants. Further, a significant gender difference t(93.47) = 4.31, p ˂ .01 in musical creativity was observed, with male participants scoring higher than females. However, there was no significant difference in participants’ musical creativity based on age. The study recommended that music educators should strive to enhance intrinsic music motivation among students. Specifically, schools should create conducive environments and have interventions for the development of intrinsic music motivation since it is the most facilitative motivation strategy in predicting musical creativity.

Keywords: extrinsic music motivation, intrinsic music motivation, musical creativity, music composition

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Authors: R. Roznowski

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This paper is an examination of a recent Michigan State University production of the classic musical, Peter Pan. In this production, approved by the licensor, the action was moved to Colonial India transforming the musical’s message to include themes of cultural identity, racism, classism and ultimately inclusion. Major character changes and casting decisions expanded the scope of the musical while still retaining the original book and score. Major changes included reframing the Darlings as British Colonials stationed in India. The Lost Boy’s as mixed race children of British officials and their Indian nannies, the Pirates were a female 'fishing fleet' a group of women sent from England to keep the British soldiers from mixing with the locals and the Michigan State University Bhangra Dance Team played the Indians in the production. Traditional Indian theatrical techniques were also employed in the storytelling. The presentation will cover the key changes to the musical, the rehearsal process, historical accuracy and audience reaction. A final analysis of cultural appropriation versus historical reframing will be examined.

Keywords: directing, history, musical theatre, producing

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Authors: Gianni Jacucci

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Alfred Schutz (1932), at the very turning towards phenomenology, of the attention for the social sciences, stated that successful communication of meanings requires the sharing of “sedimenta-tions “ of previous meanings. Börje Langefors (1966), at the very beginning of the social studies of information systems, stated that a common professional basis is required for a correct sharing of meanings, e. g., “standardised accounting data among accountants”. Harold Garfinkel (1967), at the very beginning of ethnomethodology, stated that the accounting of social events must be carried out in the same language used by the actors of those events in managing their practice. Community of practice: we advocate professional descriptions of the community of practice members to scientifically determine the level of child psycho social emotional development. Our approach consists of an application to Human Sciences of Husserl’s Phenomenological Philosophy using a method reminder of Giorgi’s DPM in Psychology. Husserl’s requirement of "Epoché," which involves eliminating prejudices from the minds of observers, is met through "concept cleaning," achieved by consistently sharing disciplinary concepts within their community of practice. Mean-while, the absence of subjective bias is ensured by the meticulous attention to detail in their professional expertise. Our approach shows promise in accurately assessing many other properties through detailed professional descriptions of the community of practice members.

Keywords: scientific rigour, descriptive phenomenological method, sedimentation of meanings, community of practice

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Authors: Shanti Swaroop Mokkapati

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The unstruck sound, or the Anahata Nada, holds the key in elevating the consciousness levels of the practitioner. This has been well established by the great saints of the eastern tradition over the past few centuries. This paper intends to explore in-depth the common thread of the practice of Anahata Nada by the musical saints, examining the subtle mention in their compositions as well as demystifying their musical experiences that throw insights into elevated levels of consciousness. Mian Tansen, one of the greatest musicians in the North Indian Hindustani Classical Music tradition and who lived in the 15th century, is said to have brought rain through his singing of Raga Megh Malhar. The South Indian (Carnatic) Musical Saint Tyagaraja, who lived in the 18th Century, composed hundreds of musical pieces full of love for the Supreme Being. Many of these compositions unravel the secrets of Anahata Nada, the chakras in the human body that hold key to these practices, and the visions of elevated levels of consciousness that Saint Tyagaraja himself experienced through these practices. The spiritual practitioners of the Radhasoami Faith (Religion of Saints) in Dayalbagh, India, have adopted a practice called Surat Shabda Yoga (Meditational practices that unite the all-pervasive sound current with the spirit current and elevate levels of consciousness). The practitioners of this Yogic method submit that they have been able to hear mystic words including Om, Racing, Soham, Sat, and Radhasoami, along with instrumental sounds that accompany these mystic words in the form of a crescendo. These prolific experiences of elevated consciousness of musical saints are numerous, and this paper intends to explore more significant ones from many centuries in the past till the present day, where elevated consciousness levels of practitioners are being scientifically measured and analyzed using quantum computing.

Keywords: Anahata Nada, Nada Yoga, Tyagaraja, Radhasoami

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Authors: Vaikunthan Rajaratnam

Abstract:

Maintaining continuous professional development among clinicians has been a challenge. Hand surgery is a unique speciality with the coming together of orthopaedics, plastics and trauma surgeons. The requirements for a team-based approach to care with the inclusion of other experts such as occupational, physiotherapist and orthotic and prosthetist provide the impetus for the creation of communities of practice. This study analysed the community of practice in hand surgery that was created through a social networking website for professionals. The main objectives were to discover the usefulness of this community of practice created in the platform of the group function of LinkedIn. The second objective was to determine the usability of this platform for the purposes of continuing professional development among members of this community of practice. The methodology used was one of mixed methods which included a quantitative analysis on the usefulness of the social network website as a community of practice, using the analytics provided by the LinkedIn platform. Further qualitative analysis was performed on the various postings that were generated by the community of practice within the social network website. This was augmented by a respondent driven survey conducted online to assess the usefulness of the platform for continuous professional development. A total of 31 respondents were involved in this study. This study has shown that it is possible to create an engaging and interactive community of practice among hand surgeons using the group function of this professional social networking website LinkedIn. Over three years the group has grown significantly with members from multiple regions and has produced engaging and interactive conversations online. From the results of the respondents’ survey, it can be concluded that there was satisfaction of the functionality and that it was an excellent platform for discussions and collaboration in the community of practice with a 69 % of satisfaction. Case-based discussions were the most useful functions of the community of practice. This platform usability was graded as excellent using the validated usability tool. This study has shown that the social networking site LinkedIn’s group function can be easily used as a community of practice effectively and provides convenience to professionals and has made an impact on their practice and better care for patients. It has also shown that this platform was easy to use and has a high level of usability for the average healthcare professional. This platform provided the improved connectivity among professionals involved in hand surgery care which allowed for the community to grow and with proper support and contribution of relevant material by members allowed for a safe environment for the exchange of knowledge and sharing of experience that is the foundation of a community practice.

Keywords: community of practice, online community, hand surgery, lifelong learning, LinkedIn, social media, continuing professional development

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Authors: Benjamin Obeghare Izu

Abstract:

In Africa, indigenous musical practices are the focal point in which most cultural practices revolve, and they are the conduit mainly used in transmitting Indigenous knowledge and values. They serve as a means of documenting, preserving, transmitting indigenous knowledge, and re-enacting their historical, social, and cultural affinity. Indigenous musical practices also serve as a repository for indigenous knowledge and artistic traditions. However, these indigenous musical practices and the resulting cultural ideals are confronted with substantial challenges in the twenty-first century from contemporary cultural influence. Additionally, indigenous musical practices' educational and cultural purposes have been impacted by the broad monetisation of the arts in contemporary society. They are seen as objects of entertainment. Some young people are today unaware of their cultural roots and are losing their cultural identity due to these influences and challenges. In order to help policymakers raise awareness of and encourage the use of indigenous knowledge and musical practices among African youth and scholars, this study is in response to the need to explore the components and functions of the indigenous knowledge system, values, and musical tradition in Africa. The study employed qualitative research methods, utilising interviews, participant observation, and conducting related literature as data collection methods. It examines the indigenous musical practices in the Oba of Benin Royal Igue festival among the Benin people in Edo state, Nigeria, and the Ovwuwve festival observed by the Abraka people in Delta state, Nigeria. The extent to which the indigenous musical practices convey and protect indigenous knowledge and cultural values are reflected in the musical practices of the cultural festivals. The study looks at how indigenous musical arts are related to one another and how that affects how indigenous knowledge is transmitted and preserved. It makes recommendations for how to increase the use of indigenous knowledge and values and their fusion with contemporary culture. The study contributes significantly to ethnomusicology by showing how African traditional music traditions support other facets of culture and how indigenous knowledge might be helpful in contemporary society.

Keywords: African musical practices, African music and dance, African society, indigenous musical practices

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Authors: Hsu-Hui Cheng, Peng-Chian Chen, Shu-Yuan Chang, Jie-Ying Zhang

Abstract:

Activities in the music practice rooms range from playing, listening, rehearsing to music performing. The good room acoustics in a music practice room enables a music teacher to teach more effectively subtle concepts such as intonation, articulation, balance, dynamics and tone production. A poor acoustical environment would deeply affect the development of basic musical skills of music students. Practicing in the music practice room is an essential daily activity for music students; consequently, music practice rooms are very important facilities in a music school or department. The purpose of this survey is to measure and analyze the acoustic condition of piano practice rooms at the department of music in Zhaoqing University and accordingly apply a more effective teaching method to music students. The volume of the music practice room is approximately 25 m³, and it has existing curtains and some wood hole sound-absorbing panels. When all small music practice rooms are in constant use for teaching, it was found that the values of the background noise at 45, 46, 42, 46, 45 dB(A) in the small music practice room ( the doors and windows were close), respectively. The noise levels in the small music practice room to higher than standard levels (35dB(A)).

Keywords: acoustical performance, music practice room, noise level, piano room

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Authors: Nikolaos Mamalis

Abstract:

The work of the eminent architect and composer has undoubtedly been influenced both by his architecture and collaboration with Le Corbusier and by the conquests of the musical avant-garde of the 20th century (Schoenberg, Messian, Bartock, electroacoustic music). It is known that the golden mean and the Fibonacci sequence played a momentous role in the Architectural Avant-garde (Modulor) and expanded on musical pursuits. Especially in the 50s (serialism), it was a structural tool for composition. Xenakis' architectural and musical work (Sacrifice, Metastasis, Rebonds, etc.) received the influence of the Golden Section, as has been repeatedly demonstrated. However, the idea of this retrospective sequence and the reflection raised by the search for new proportions, both in the architectural and the musical work of Xenakis, was not limited to constituting a step, a workable formula that acted unifyingly with regard to the other parameters of the musical work, or as an aesthetic model that makes sense - philosophically and poetically - an anthropocentric dimension as in other composers (see Luigi Nono) ̇ triggered a qualitative leap, an opening of the composer to the assimilation of mathematical concepts and scientific types in music and the consolidation of new sound horizons of stochastic music.

Keywords: golden ratio, music, space, stochastic music

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Authors: Shannon Steinmetz, Ellen Gethner

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In this paper, a theoretical foundation is developed for patterned segmentation of audio using the geometry of music and statistical manifold. We demonstrate image content clustering using conic space sonification. The algorithm takes a geodesic curve as a model estimator of the three-parameter Gamma distribution. The random variable is parameterized by musical centricity and centric velocity. Model parameters predict audio segmentation in the form of duration and frame count based on the likelihood of musical geometry transition. We provide an example using a database of randomly selected images, resulting in statistically significant clusters of similar image content.

Keywords: sonification, musical information geometry, image, content extraction, automated quantification, audio segmentation, pattern recognition

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Authors: Bhalke D. G., Bormane D. S., Kharate G. K.

Abstract:

This paper presents classification of musical instrument using machine learning techniques. The classification has been carried out using temporal, spectral, cepstral and wavelet features. Detail feature analysis is carried out using separate and combined features. Further, instrument model has been developed using K-Nearest Neighbor and Support Vector Machine (SVM). Benchmarked McGill university database has been used to test the performance of the system. Experimental result shows that SVM performs better as compared to KNN classifier.

Keywords: feature extraction, SVM, KNN, musical instruments

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Authors: Nawras Kurzom, Avi Mendelsohn

Abstract:

The effects of background music on learning and memory are inconsistent, partly due to the intrinsic complexity and variety of music and partly to individual differences in music perception and preference. A prominent musical feature that is known to elicit strong emotional responses is musical tension. Musical tension can be brought about by building anticipation of rhythm, harmony, melody, and dynamics. Delaying the resolution of dominant-to-tonic chord progressions, as well as using dissonant harmonics, can elicit feelings of tension, which can, in turn, affect memory formation of concomitant information. The aim of the presented studies was to explore how forming declarative memory is influenced by musical tension, brought about within continuous music as well as in the form of isolated chords with varying degrees of dissonance/consonance. The effects of musical tension on long-term memory of declarative information were studied in two ways: 1) by evoking tension within continuous music pieces by delaying the release of harmonic progressions from dominant to tonic chords, and 2) by using isolated single complex chords with various degrees of dissonance/roughness. Musical tension was validated through subjective reports of tension, as well as physiological measurements of skin conductance response (SCR) and pupil dilation responses to the chords. In addition, music information retrieval (MIR) was used to quantify musical properties associated with tension and its release. Each experiment included an encoding phase, wherein individuals studied stimuli (words or images) with different musical conditions. Memory for the studied stimuli was tested 24 hours later via recognition tasks. In three separate experiments, we found positive relationships between tension perception and physiological measurements of SCR and pupil dilation. As for memory performance, we found that background music, in general, led to superior memory performance as compared to silence. We detected a trade-off effect between tension perception and memory, such that individuals who perceived musical tension as such displayed reduced memory performance for images encoded during musical tension, whereas tense music benefited memory for those who were less sensitive to the perception of musical tension. Musical tension exerts complex interactions with perception, emotional responses, and cognitive performance on individuals with and without musical training. Delineating the conditions and mechanisms that underlie the interactions between musical tension and memory can benefit our understanding of musical perception at large and the diverse effects that music has on ongoing processing of declarative information.

Keywords: musical tension, declarative memory, learning and memory, musical perception

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Authors: Ya-Hsuan Wang

Abstract:

This project of intercultural education aimed to explore pluricultural people’s interpretation and evaluation of the transnational community in Taiwan. Based on transnationalism and transculturalism, this study concerns the human right issues for immigrants and pluricultural people. Research participants as immigrants in Taiwan were asked about their typical thinking styles in the transnational community, their cultural integration in terms of transnational behaviors, and their collective memory of the transnational community. Interview questions included what key factors were involved in their identity negotiation, what roles the transnational community and collective memory would be for their identity negotiation and what were the positive or negative aspects impacting cross-border identity. Based on the experiences of pluricultural people and transnational communities, this project expected to enhance the depth and width of developing transcultural knowledge in textbook reform on History in K-12 schools. It is to transform cross-border identity into knowledge embedded with local culture in response to globalization and localization. The purpose of this paper is to portrait the cross-cultural practice of transnational community for Taiwan’s immigrants. It is to report their external socio-cultural expectation of ethnic economics, to understand their internal life course of national identity, and to clarify transnational community in relation to their cross-border identity. In conclusion, the cross-cultural practice of transnational community combined the external contexts such as ethnic economic interaction among transnational communities, social report and ethnic industry, and the internal contexts such as ethnic identity, language use, and collective memory in ethnic history.

Keywords: cross-cultural practice, immigrants, pluricultural people, transnational community

Procedia PDF Downloads 196