Search results for: musical code

Authors: Elizabeth McLean, Katrina Skewes-McFerran, Grace Thompson

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Scholarship highlights the need to further examine and better understand and foster the process of becoming a parent to a premature baby in the neonatal context to support the critical development of the parent-infant relationship. Music therapy research documents significant benefits of music therapy on neonatal physiological and neurodevelopmental function, reduced maternal anxiety and validating parents’ relationship with their premature baby, yet limited studies examine the role of music in supporting parental identity. This was a multi-site study, exploring parents’ musical engagement with their hospitalised baby and parental identity in a NU. In-depth interviews with nine parents of a premature baby across varying time points in their NU journey took place. Data collection and analysis was influenced by Constructive Grounded Theory methodology. Findings in the form of a substantive grounded theory illuminated the contribution of parents’ musical engagement on their sense of parental identity in the NU. Specifically, the significance of their baby’s level and type of response during musical interactions in influencing parents’ capacity to engage in musical dialogue with their baby emerged. Specific conditions that acted as both barriers and fosters in parents’ musical engagement across a high- risk pregnancy and NU admission also emerged. Recommendations for future research into the role of music and music therapy in supporting parental coping and transition to parenthood during a high-risk pregnancy and birth and beyond the NU will be discussed.

Keywords: grounded theory, musical engagement, music therapy, parental identity

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Authors: Aaidha Hammad

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This study examines the phenomenon of code switching among teenagers in the Maldives while they carry out conversations through Facebook in the form of “Facebook Chatting”. The current study aims at evaluating the frequency of code-switching and it investigates between what languages code-switching occurs. Besides the study identifies the types of words that are often codeswitched and the triggers for code switching. The methodology used in this study is mixed method of qualitative and quantitative approach. In this regard, the chat log of a group conversation between 10 teenagers was collected and analyzed. A questionnaire was also administered through online to 24 different teenagers from different corners of the Maldives. The age of teenagers ranged between 16 and 19 years. The findings of the current study revealed that while Maldivian teenagers chat in Facebook they very often code switch and these switches are most commonly between Dhivehi and English, but some other languages are also used to some extent. It also identified the different types of words that are being often code switched among the teenagers. Most importantly it explored different reasons behind code switching among the Maldivian teenagers in Facebook chatting.

Keywords: code-switching, Facebook, Facebook chatting Maldivian teenagers

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Authors: Ahmed Saleh Summan

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This article presents the results of a technical report on the evaluation of occupational noise exposures among a musical conductor in a musical rehearsal hall (party–center). A calibrated noise dosimeter was used to measure the personal exposure of a music teacher/conductor for 8 hours in two days of rehearsal involving 90 players. Results showed that noise exposure levels were much higher than the permissible levels regulated 85dBA/8hr by NIOSH. In fact, the first day of measurements recorded the highest exposure levels (91 dBA). A number of factors contributed to these results, such as players number, types of instruments used, and activities. Noise control measures were recommended to solve this situation.

Keywords: noise exposure, music conductors, occupational noise, noise in rooms

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Authors: Olupemi E. Oludare

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This paper discusses the thematic structure of Yoruba popular music of Southwest Nigeria. It examines the use of themes and variations in early and contemporary Juju music. The work is an outcome of a research developed by the author in his doctoral studies at the University of Lagos, Nigeria, with the aim of analyzing the thematic and motivic developments in Yoruba popular genres. Observations, interviews, live recordings and CDs were used as methods for eliciting information. Field recordings and CDs of selected musical samples were also transcribed and notated. The research established the prevalent use of string of themes by Juju musicians as a compositional technique in moving from one musical section to another, as they communicate the verbal messages in their song. These themes consisting of the popular ‘call and response’ form found in most African music, analogous to the western ‘subject and answer’ style of the fugue or sonata form, although without the tonic–dominant relations. Due to the short and repetitive form of African melodies and rhythms, a theme is restated as a variation, where its rhythmic and melodic motifs are stylistically developed and repeated, but still retaining its recognizable core musical structure. The findings of this study showed that Juju musicians generally often employ a thematic plan where new themes are used to arrange the songs into sections, and each theme is developed into variations in order to further expand the music, eliminate monotony, and create musical aesthetics, serving as hallmark of its musical identity. The study established the musical and extra-musical attributes of the genre, while recommending further research towards analyzing the various compositional techniques employed in African popular genres.

Keywords: compositional techniques, popular music, theme and variation, thematic development

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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: Muhammad Umar Kiani, Waseem Sakawat

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This study presents the development of FEM code using Quadrilateral 4-Node (Q4) and Triangular 3-Node (T3) elements. Code is formulated using MATLAB language. Instead of using both elements in the same code, two separate codes are written. Quadrilateral element is difficult to handle directly, that is why natural coordinates (eta, ksi) are used. Due to this, Q4 code includes numerical integration (Gauss quadrature). In this case, complete numerical integration is performed using 2 points. On the other hand, T3 element can be modeled directly, by using direct stiffness approach. Axially loaded element, cantilever (special constraints) and Patch test cases were analyzed using both codes and the results were verified by using Ansys.

Keywords: FEM code, MATLAB, numerical integration, ANSYS

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Authors: Yagya Raj Pandeya, Joonwhoan Lee

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The dynamic behavior of music and video makes it difficult to evaluate musical instrument playing in a video by computer system. Any television or film video clip with music information are rich sources for analyzing musical instruments using modern machine learning technologies. In this research, we integrate the audio and video information sources using convolutional neural network (CNN) and pass network learned features through recurrent neural network (RNN) to preserve the dynamic behaviors of audio and video. We use different pre-trained CNN for music and video feature extraction and then fine tune each model. The music network use 2D convolutional network and video network use 3D convolution (C3D). Finally, we concatenate each music and video feature by preserving the time varying features. The long short term memory (LSTM) network is used for long-term dynamic feature characterization and then use late fusion with generalized mean. The proposed network performs better performance to recognize the musical instrument using audio-video multimodal neural network.

Keywords: multimodal, 3D convolution, music-video feature extraction, generalized mean

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Authors: Wassim Bekai

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Code switching, as its name states, is altering between two or more languages in one sentence. The speaker tends to use code switching in his/her speech for better clarification of his/her message to the receiver. It is commonly used in sociocultural countries such as Lebanon because of the various cultures that have come across its lands through history, considering Lebanon is geographically located in the heart of the world, and hence between many cultures and languages. In addition, Lebanon was occupied by Turkish authorities for about 400 years, and later on by the French mandate, where both of these countries forced their languages in official papers and in the Lebanese educational system. In this paper, the importance of code switching in the Lebanese workplace will be examined, stressing the efficiency and amount of the production resulting from code switching in the workplace (factories, universities among other places) in addition to exploring the social, education, religious and cultural factors behind this phenomenon in Lebanon.

Keywords: code switching, Lebanon, cultural, factors

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Authors: B. S. Akhmetov, A. I. Ivanov, T. S. Kartbayev, A. Y. Malygin, K. Mukapil, S. D. Tolybayev

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The article examines the testing of the neural network converter of biometrics code. Determined the main reasons that prevented the use adopted in the works of foreign researchers classical a Binomial Law when describing distribution of measures of Hamming "Alien" codes-responses.

Keywords: biometrics, testing, neural network, converter of biometrics-code, Hamming's measure

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Authors: Maha Sliti, Walid Abdallah, Noureddine Boudriga

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In the frame of this work, we present an optical multicasting approach based on optical code-words. Our approach associates, in the edge node, an optical code-word to a group multicast address. In the core node, a set of tunable decoders are used to send a traffic data to multiple destinations based on the received code-word. The use of code-words, which correspond to the combination of an input port and a set of output ports, allows the implementation of an optical switching matrix. At the reception of a burst, it will be delayed in an optical memory. And, the received optical code-word is split to a set of tunable optical decoders. When it matches a configured code-word, the delayed burst is switched to a set of output ports.

Keywords: optical multicast, optical burst switching networks, optical code-words, tunable decoder, virtual optical memory

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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: Abdul Walid Ali

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The trend of publishing political musicals in Istana Budaya has been popular since 2007 when Malaysia celebrated its 50th anniversary of independence. Istana Budaya has at least one musical of any politician since then. Normally, the politicians are former Prime Ministers and renowned ministers prior to Malaysia's independence in 1957. The first performance in Istana Budaya which represented a politician as a theme was Muzikal Cheng Lock (2007) followed by Muzikal Tun Abdul Razak (2009), Muzikal Tun Mahathir (2010), and Muzikal Tun Mahathir 2 (2011). In 2012, Lawak Ke Der has changed the trend with comic performance and put an end to politician musical. Tun Siti Hasmah the Musical (2012) is not listed in the research because she did not hold any position as a minister. This qualitative research focuses on musicals of political figures as a theme. Some factors of making this type of performance are analyzed based on Istana Budaya’s decisions during that time in Malaysia between 2007 and 2011. This research aims to document these musical themed performances in Istana Budaya for further research in the future. Political performances are listed and analyzed from 2007 to 2012 based on reports and previous research. The declination of audiences in 2012 and a new theme in theatre performances in Istana Budaya are important factors for the downfall of the political theatres' theme.

Keywords: musical, politician, Istana Budaya, theatre

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Authors: S. Malarvizhi, S. Sadiq Basha, M. Santhosh Kumar, K. Saravanan, R. Sasikumar, R. Satheesh

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This is a web based application which provides authorization for the vehicle identification and registration. It also provides mutual authentication between the police and users in order to avoid misusage. The QR code generation in this application overcomes the difficulty in the manual registration of the vehicle documents. This generated QR code is placed in the number plates of the vehicles. The QR code is scanned using the QR Reader installed in the smart devices. The police officials can check the vehicle details and file cases on accidents, theft and traffic rules violations using QR code. In addition to vehicle insurance payments and renewals, the renewal alert is sent to the vehicle owner about payment deadline. The non-permitted vehicles can be blocked in the next check-post by sending the alert messages.

Keywords: QR code, QR reader, registration, authentication, idenfication

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Authors: James Waide

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In music, subject typically denotes the initial idea to which the entire composition refers—a concept congruous with Aristotle's notion of subject as primary substance, in the sense of an irreducible this particular. Gioseffo Zarlino, who established subject (soggetto) as a musical term, insisted the composer as “rediscovering” the subject within their music in order to “[bring] it to perfection” and, furthermore, that if the composer had not rediscovered the subject already, then one would simply take the first part of the composition to be the subject. Meanwhile, Žižek reads the Hegelian subject (as negativity set against positive object) through Lacanian Psychoanalysis (in which the subject is a kind of fictive entity of the clinic: a mere appearance which sits atop the objects of analysis) in the concept of Absolute Recoil. For Žižek, subject exists retroactively in Absolute Recoil from object, meaning subject is a void which only has meaning because of the object it is seen through. Following the work of theorists such as Adorno and Althusser, one can understand the ideological construction of such a subject. It may be argued that in Zarlino, musical subject can be similarly read as retroactively constructed, either by the composer or the listener. Furthermore, in recent work, Samuel Wilson identifies different kinds of subjects in music which can be psychoanalytically examined, including the fictive subject: a purely musical entity raised to the level of psychoanalytic subject. On which basis if, as Adorno insisted, 'authentic' music constitutes 'cognition without concepts', where and what is this subject without concept?.

Keywords: absolute recoil, critical theory, ideology, music analysis, psychoanalysis, retroactivity, subject

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Authors: Olatunbosun Samuel Adekogbe

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This paper addresses the question of musical signification, revolving around nature and its natural divides; the paper tends to examine the roles of the dispositional apparatus of listeners to react to sounding environments through music as coordinated sound that focuses on the powerful strain between vibrational occurrences of sound and potentials of being structured. This paper sets out to examine music as a simple conventional design that does not allude to something beyond music and sound as a vehicle to communicate through production, perception, translation, and reaction with regard to melodic and semiotic functions of sounds. This paper adopts the application of questionnaire and evolutionary approach methods to probe musical adaptation, reproduction, and natural selection as the basis for explaining specific human behavioural responses to musical sense-making beyond the above-sketched dichotomies, with a major focus on the transition from acoustic-emotional sensibilities to musical meaning in the selected soundscapes. It was observed that music has emancipated itself from the level of mere acoustic processing of sounds to a functional description in terms of allowing music users to share experiences and interact with the soundscaping environment. The paper, therefore, concludes that the audience as music participants and listeners in the selected soundscapes have been conceived as adaptive devices in the paradigm shift, which can build up new semiotic linkages with the sounding environments in southwestern Nigeria.

Keywords: semiotics, sound, music, soundscape, environment

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Authors: Thulya Premathilake, Tharushi Perera, Hansi Thathsarani, Tharushi Nethmini, Dilshan De Silva, Piyumika Samarasekara

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One of the most efficient ways to assist developers in grasping the source code is to make use of comments, which can be found throughout the code. When working in fields such as software development, having comments in your code that are of good quality is a fundamental requirement. Tackling software problems while making use of programs that have already been built. It is essential for the intention of the source code to be made crystal apparent in the comments that are added to the code. This assists programmers in better comprehending the programs they are working on and enables them to complete software maintenance jobs in a more timely manner. In spite of the fact that comments and documentation are meant to improve readability and maintainability, the vast majority of programmers place the majority of their focus on the actual code that is being written. This study provides a complete and comprehensive overview of the previous research that has been conducted on the topic of code comments. The study focuses on four main topics, including automated comment production, comment consistency, comment classification, and comment quality rating. One is able to get the knowledge that is more complete for use in following inquiries if they conduct an analysis of the proper approaches that were used in this study issue.

Keywords: code commenting, source code, software quality, quality assurance

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Authors: Cinna Soltanpur, Mohammad Ghamari, Behzad Momahed Heravi, Fatemeh Zare

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Low-density parity-check (LDPC) codes have been shown to deliver capacity approaching performance; however, problematic graphical structures (e.g. trapping sets) in the Tanner graph of some LDPC codes can cause high error floors in bit-error-ratio (BER) performance under conventional sum-product algorithm (SPA). This paper presents a serial concatenation scheme to avoid the trapping sets and to lower the error floors of LDPC code. The outer code in the proposed concatenation is the LDPC, and the inner code is a high rate array code. This approach applies an interactive hybrid process between the BCJR decoding for the array code and the SPA for the LDPC code together with bit-pinning and bit-flipping techniques. Margulis code of size (2640, 1320) has been used for the simulation and it has been shown that the proposed concatenation and decoding scheme can considerably improve the error floor performance with minimal rate loss.

Keywords: concatenated coding, low–density parity–check codes, array code, error floors

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Authors: Sefik Can Karakaya, Ibrahim Demir

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In this study, the relationship between musical preferences and personality traits has been investigated in terms of Spotify audio analysis features. The aim of this paper is to build such a classifier capable of segmenting people into their Myers-Briggs Type Index (MBTI) personality type based on their Spotify playlists. Music takes an important place in the lives of people all over the world and online music streaming platforms make it easier to reach musical contents. In this context, the motivation to build such a classifier is allowing people to gain access to their MBTI personality type and perhaps for more reliably and more quickly. For this purpose, logistic regression and deep neural networks have been selected for classifier and their performances are compared. In conclusion, it has been found that musical preferences differ statistically between personality traits, and evaluated models are able to distinguish personality types based on given musical data structure with over %60 accuracy rate.

Keywords: myers-briggs type indicator, music psychology, Spotify, behavioural user profiling, deep neural networks, logistic regression

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Authors: Lorena Mihelac, Janez Povh

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In 2017, we conducted a research study using data consisting of 160 musical excerpts from different musical styles, to analyze the impact of entropy of the harmony on the acceptability of music. In measuring the entropy of harmony, we were interested in unigrams (individual chords in the harmonic progression) and bigrams (the connection of two adjacent chords). In this study, it has been found that 53 musical excerpts out from 160 were evaluated by participants as very complex, although the entropy of the harmonic progression (unigrams and bigrams) was calculated as low. We have explained this by particularities of chord progression, which impact the listener's feeling of complexity and acceptability. We have evaluated the same data twice with new participants in 2018 and with the same participants for the third time in 2019. These three evaluations have shown that the same 53 musical excerpts, found to be difficult and complex in the study conducted in 2017, are exhibiting a high feeling of complexity again. It was proposed that the content of these musical excerpts, defined as “irregular,” is not meeting the listener's expectancy and the basic perceptual principles, creating a higher feeling of difficulty and complexity. As the “irregularities” in these 53 musical excerpts seem to be perceived by the participants without being aware of it, affecting the pleasantness and the feeling of complexity, they have been defined as “subliminal irregularities” and the 53 musical excerpts as “irregular.” In our recent study (2019) of the same data (used in previous research works), we have proposed a new measure of the complexity of harmony, “regularity,” based on the irregularities in the harmonic progression and other plausible particularities in the musical structure found in previous studies. We have in this study also proposed a list of 10 different particularities for which we were assuming that they are impacting the participant’s perception of complexity in harmony. These ten particularities have been tested in this paper, by extending the analysis in our 53 irregular musical excerpts from harmony to melody. In the examining of melody, we have used the computational model “Information Dynamics of Music” (IDyOM) and two information-theoretic measures: entropy - the uncertainty of the prediction before the next event is heard, and information content - the unexpectedness of an event in a sequence. In order to describe the features of melody in these musical examples, we have used four different viewpoints: pitch, interval, duration, scale degree. The results have shown that the texture of melody (e.g., multiple voices, homorhythmic structure) and structure of melody (e.g., huge interval leaps, syncopated rhythm, implied harmony in compound melodies) in these musical excerpts are impacting the participant’s perception of complexity. High information content values were found in compound melodies in which implied harmonies seem to have suggested additional harmonies, affecting the participant’s perception of the chord progression in harmony by creating a sense of an ambiguous musical structure.

Keywords: entropy and information content, harmony, subliminal (ir)regularity, IDyOM

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Authors: Leonardo Ko

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In an era marked by rapid technological innovation, the classical instrument industry nonetheless has not seen significant change. Is this a matter of stubborn traditionalism, or do old, conventional instruments really sound better? Because of the widespread use of 3-D printing, it seems feasible to produce modern, 3-D printed instruments that adhere to the basic conventions of standard construction. This study aimed to design and create a practical, effective 3-D printed acoustic violin. A cost-benefit analysis of materials and design is presented in addition to a report on sound tests in which a pool of professional musicians compared the traditional violin to its synthetic counterpart with regard to acoustic properties. With a low-cost yet functional instrument, musicians of all levels would be able to afford instruments with much greater ease; the present study thus hopes to contribute to efforts to increase the accessibility of classical music education.

Keywords: acoustic musical instrument, classical musical education, low-cost, 3-D printing

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Authors: Gu Dongxing, Li Yuxuan, Nong Tengxiao, Burra Venkata Durga Kumar

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Since computers are widely used in business models, more and more companies choose to store important information in computers to improve productivity. However, this information can be compromised in many cases, such as when it is stored locally on the company's computers or when it is transferred between servers and clients. Of these important information leaks, source code leaks are probably the most costly. Because the source code often represents the core technology of the company, especially for the Internet companies, source code leakage may even lead to the company's core products lose market competitiveness, and then lead to the bankruptcy of the company. In recent years, such as Microsoft, AMD and other large companies have occurred source code leakage events, suffered a huge loss. This reveals to us the importance and necessity of preventing source code leakage. This paper aims to find ways to prevent source code leakage based on the direction of operating system, and based on the fact that most companies use Linux or Linux-like system to realize the interconnection between server and client, to discuss how to reduce the possibility of source code leakage during data transmission.

Keywords: data transmission, Linux, source code, operating system

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Authors: Jagannath Singh, Durga Prasad Mohapatra

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Software refactoring is very essential for maintaining the software quality. It is an usual practice that we first design the software and then go for coding. But after coding is completed, if the requirement changes slightly or our expected output is not achieved, then we change the codes. For each small code change, we cannot change the design. In course of time, due to these small changes made to the code, the software design decays. Software refactoring is used to restructure the code in order to improve the design and quality of the software. In this paper, we propose an approach for performing code refactoring. We use slice-based cohesion metrics to identify the target methods which requires refactoring. After identifying the target methods, we use program slicing to divide the target method into two parts. Finally, we have used the concepts of Aspects to adjust the code structure so that the external behaviour of the original module does not change.

Keywords: software refactoring, program slicing, AOP, cohesion metrics, code restructure, AspectJ

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Authors: Piotr Podlipniak

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Social consolidation has often been indicated as an adaptive function of music which led to the evolution of music faculty. According to many scholars this function is possible thanks to musical rhythm that enables sensorimotor synchronization to a musical beat. The ability to synchronize to music allows performing music collectively which enhances social cohesion. However, the collective performance of music consists also in spectral synchronization that depends on musical pitch structure. Similarly to rhythmic synchronization, spectral synchronization is a result of ‘brain states alignment’ between people who collectively listen to or perform music. In order to successfully synchronize pitches performers have to adequately expect the pitch structure. The most common form of music which predominates among all human societies is tonal music. In fact tonality understood in the broadest sense as such an organization of musical pitches in which some pitch is more important than others is the only kind of musical pitch structure that has been observed in all currently known musical cultures. The perception of such a musical pitch structure elicits specific emotional reactions which are often described as tensions and relaxations. These facts provoke some important questions. What is the evolutionary reason that people use pitch structure as a form of vocal communication? Why different pitch structures elicit different emotional states independent of extra-musical context? It is proposed in the current presentation that in the course of evolution pitch structure became a human specific tool of communication the function of which is to induce emotional states such as uncertainty and cohesion. By the means of eliciting these emotions during collective music performance people are able to unconsciously give cues concerning social acceptance. This is probably one of the reasons why in all cultures people collectively perform tonal music. It is also suggested that tonal pitch structure had been invented socially before it became an evolutionary innovation of Homo sapiens. It means that a predisposition to tonally organize pitches evolved by the means of ‘Baldwin effect’ – a process in which natural selection transforms the learned response of an organism into the instinctive response. The hypothetical evolutionary scenario of the emergence of tonal pitch structure will be proposed. In this scenario social forces such as a need for closer cooperation play the crucial role.

Keywords: emotion, evolution, tonality, social consolidation

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Authors: Jamal Laaouine, Mohammed Elhassani Charkani

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Let p be a prime and let b be an integer. MDS b-symbol codes are a direct generalization of MDS codes. The γ-constacyclic codes of length pˢ over the finite commutative chain ring Fₚm [u]/ < u² > had been classified into four distinct types, where is a nonzero element of the field Fₚm. Let C₃ be a code of Type 3. In this paper, we obtain the b-symbol distance db(C₃) of the code C₃. Using this result, necessary and sufficient conditions under which C₃ is an MDS b-symbol code are given.

Keywords: constacyclic code, repeated-root code, maximum distance separable, MDS codes, b-symbol distance, finite chain rings

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Authors: Monika Benedek

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Improvisation is an integral part of music education programmes worldwide since teachers recognize that improvisation helps to broaden stylistic knowledge, develops creativity and various musical skills, in particular, aural skills, and also motivates to learn music theory. In Hungary, where Kodály concept is a core element of music teacher education, improvisation has been relatively neglected subject in both primary school and classical music school curricula. Therefore, improvisation was an important theme of a one-year-long research project carried out at the Liszt Academy of Music in Budapest. The project aimed to develop the music teacher training programme, and among others, focused on testing how improvisation could be used as a teaching tool to improve students’ musical reading and writing skills and creative musical skills. Teacher-researchers first tested various teaching approaches of improvisation with numerous teaching modules in music lessons at public schools and music schools. Data were collected from videos of lessons and from teachers’ reflective notes. After analysing data and developing teaching modules, all modules were tested again in a pilot course in 30 contact lessons for music teachers. Teachers gave written feedback of the pilot programme, tested two modules by their choice in their own teaching and wrote reflecting comments about their experiences in applying teaching modules of improvisation. The overall results indicated that improvisation could be an innovative approach to teaching various musical subjects, in particular, solfege, music theory, and instrument, either in individual or in group instruction. Improvisation, especially with the application of relative solmisation and singing, appeared to have been a beneficial tool to develop various musicianship skills of students and teachers, in particular, the aural, musical reading and writing skills, and creative musical skills. Furthermore, improvisation seemed to have been a motivating teaching tool to learn music theory by creating a bridge between various musical styles. This paper reports on the results of the research project.

Keywords: improvisation, Kodály concept, music school, public school, teacher training

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Authors: Siti Rajaah Binti Sayed Sultan

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Managing the code blue event is stressful for nurses, the patient, and the patient's families. The rapid response from the first and second responders in the code blue event will improve patient outcomes and prevent tissue hypoxia that leads to brain injury and other organ failures. Providing 1 minute for the cardiac massage and 2 minutes for defibrillation will significantly improve patient outcomes. As we know, the American Heart Association came out with guidelines for managing cardiac arrest patients. The hospital must provide competent staff to manage this situation. It can be achieved when the staff is well equipped with the skill, attitude, and knowledge to manage this situation with well-planned strategies, i.e., clear guidelines for managing the code blue event, competent staff, and functional equipment. The code blue simulation (CBS) was chosen in the training program for code blue management because it can mimic real scenarios. Having the code blue simulation module will allow the staff to appreciate what they will face during the code blue event, especially since it rarely happens in that area. This CBS module training will help the staff familiarize themselves with the activities that happened during actual events and be able to operate the equipment accordingly. Being challenged and independent in managing the code blue in the early phase gives the patient a better outcome. The CBS module will help the assessor and the hospital management team with the proper tools and guidelines for managing the code blue drill accordingly. As we know, prompt action will benefit the patient and their family. It also indirectly increases the confidence and job satisfaction among the nurses, increasing the standard of care, reducing the complication and hospital burden, and enhancing cost-effective care.

Keywords: code blue simulation module, development of code blue simulation module, code blue response time, code blue drill, cardiorespiratory arrest, managing code blue

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Authors: Dhanya Nair, Nicholas Mirchandani

Abstract:

Musical haptic systems can enhance a listener’s musical experience while providing an alternative platform for the hearing impaired to experience music. Current music tactile technologies focus on representing tactile metronomes to synchronize performers or encoding musical notes into distinguishable (albeit distracting) tactile patterns. There is growing interest in the development of musical haptic systems to augment the auditory experience, although the haptic-music relationship is still not well understood. This paper represents a tactile music interface that provides vibrations to multiple fingertips in synchronicity with auditory music. Like an audio equalizer, different frequency bands are filtered out, and the power in each frequency band is computed and converted to a corresponding vibrational strength. These vibrations are felt on different fingertips, each corresponding to a different frequency band. Songs with music from different spectrums, as classified by their energy and valence, were used to test the effectiveness of the system and to understand the relationship between music and tactile sensations. Three participants were trained on one song categorized as sad (low energy and low valence score) and one song categorized as happy (high energy and high valence score). They were trained both with and without auditory feedback (listening to the song while experiencing the tactile music on their fingertips and then experiencing the vibrations alone without the music). The participants were then tested on three songs from both categories, without any auditory feedback, and were asked to classify the tactile vibrations they felt into either category. The participants were blinded to the songs being tested and were not provided any feedback on the accuracy of their classification. These participants were able to classify the music with 100% accuracy. Although the songs tested were on two opposite spectrums (sad/happy), the preliminary results show the potential of utilizing a vibrotactile equalizer, like the one presented, for augmenting musical experience while furthering the current understanding of music tactile relationship.

Keywords: haptic music relationship, tactile equalizer, tactile music, vibrations and mood

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Authors: Fung Chiat Loo, Fung Ying Loo

Abstract:

This paper discusses, suggests, and constructs a notation system to facilitate the learning and understanding of the two aspects of music and movement in a sports routine. This model serves to provide a simple and logical notation that does not require training in both music and choreography. Notation is an important medium in many art forms, particularly in music and dance, transmitting information that cannot easily be expressed using words or language. Another field that is closely associated with dance and music is sports routine, which equally requires choreography and music. However, from the perspective of music, it is common to observe many incongruencies appearing between the music used and the choreography that impede an optimal perception of the performance. The concept of the notation proceeds with a discussion and review of existing dance notations that could contribute to sports routines, along with rules and a code of points in selected sports routines. The author's involvement as an insider of numerous musical theatre productions also contributed to this study. The notation constructed includes time (tempo), significances of musical accents, direction, and phrasing, along with significances of movements (jump, punch, shape). It is believed that the level of congruence between music and movement will provide optimal visualization, and in that, the notation serves to provide adequate information on both entities for the understanding of athletes and coaches.

Keywords: notation, choreography, music learning, sports routines, congruence

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Authors: Tania Lisboa, Angela Voyajolu, Adam Ockelford

Abstract:

The positive impact of music on the development of children with autism is widely acknowledged: music offers a unique channel for communication, wellbeing and self-regulation, as well as access to culture and a means of creative engagement. Yet, no coherent program exists for parents, carers and teachers to follow with their children in the early years, when the need for interventions is often most acute. Hence, research and the development of resources is urgently required. Autism is a project with children on the autism spectrum. The project aims at promoting the participants’ engagement with music through involvement in specially-designed musical activities with parents and carers. The main goal of the research is to verify the effectiveness of newly designed resources and strategies, which are based on the Sounds of Intent in the Early Years (SoI-EY) framework of musical development. This is a pilot study, comprising case studies of five children with autism in the early years. The data comprises semi-structured interviews, observations of videos, and feedback from parents on resources. Interpretative Phenomenological Analysis was chosen to analyze the interviews. The video data was coded in relation to the SoI-EY framework. The feedback from parents was used to evaluate the resources (i.e. musical activity cards). The participants’ wider development was also assessed through selected elements of the Early Years Foundation Stage (EYFS), a national assessment framework used in England: specifically, communication, language and social-emotional development. Five families of children on the autism spectrum (aged between 4-8 years) participated in the pilot. The research team visited each family 4 times over a 3-month period, during which the children were observed, and musical activities were suggested based on the child’s assessed level of musical development. Parents then trialed the activities, providing feedback and gathering further video observations of their child’s musical engagement between visits. The results of one case study will be featured in this paper, in which the evidence suggests that specifically tailored musical activity may promote communication and social engagement for a child with language difficulties on the autism spectrum. The resources were appropriate for the children’s involvement in musical activities. Findings suggest that non-specialist musical engagement with family and carers can be a powerful means to foster communication. The case study featured in this paper illustrates this with a child of limited verbal ability. There is a need for further research and development of resources that can be made available to all those working with children on the autism spectrum.

Keywords: autism, development, music education, resources

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Authors: Eusebio Jr. Lina, Ederlina Nocon

Abstract:

Cyclic codes are a fundamental subclass of linear codes that enjoy a very interesting algebraic structure. The class of skew cyclic codes (or θ-cyclic codes) is a generalization of the notion of cyclic codes. This a very large class of linear codes which can be used to systematically search for codes with good properties. A linear code with complementary dual (LCD code) is a linear code C satisfying C ∩ C^⊥ = {0}. This subclass of linear codes provides an optimum linear coding solution for a two-user binary adder channel and plays an important role in countermeasures to passive and active side-channel analyses on embedded cryptosystems. This paper aims to identify LCD codes from the class of skew cyclic codes. Let F_q be a finite field of order q, and θ be an automorphism of F_q. Some conditions for a skew cyclic code to be LCD were given. To this end, the properties of a noncommutative skew polynomial ring F_q[x, θ] of automorphism type were revisited, and the algebraic structure of skew cyclic code using its skew polynomial representation was examined. Using the result that skew cyclic codes are left ideals of the ring F_q[x, θ]/〈x^n-1〉, a characterization of a skew cyclic LCD code of length n was derived. A necessary condition for a skew cyclic code to be LCD was also given.

Keywords: LCD cyclic codes, skew cyclic LCD codes, skew cyclic complementary dual codes, theta-cyclic codes with complementary duals

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