Search results for: classical instrumental background music

Authors: Thomas LaRocca

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This study explores the development of a public-school music teacher’s professional identity within three domains: as an educator in the profession at large, as a music teacher in a school, and as a professional musician. An autoethnographic method is employed by calling upon undergraduate student teaching reflections, graduate writing assignments and presentations, cover letters for employment, professional correspondence, and reflective memos. These artifacts provide a reference for phenomenological insights into the values, hopes, and criticisms within each domain over time –all of which provide a window into the overall ontological perspective of one’s professional life at different moments in their career. While the topic of music teacher identity has been examined using autoethnographical methods before, by accessing materials over the course of ten years, the study is able to investigate the ‘how’ of identity development in a temporal context; from undergraduate student to established professional. Additionally, while the field offers a considerable amount of work surrounding the child and adolescent identity development, there are unmined opportunities to examine identity development in the adult years, especially surrounding adult professional life. Employing a postpositivist approach with social constructionism as a backdrop, this study examines adult identity formation and the contradictions, resonances, and priorities within each domain, between each domain, and perceived expectations of the professional community. What is revealed is a journey of self-improvement motivated by failure and success, marked by negotiation and sacrifice; as each domain competes for mental and temporal resources, identity is viewed as not just who one is, but also as what one leaves behind. These insights offer a window into the ontology of identity of a music educator and may provide considerations for differentiating professional development based on what stage educators are at in their careers.

Keywords: identity, longitudinal autoethnography, music teacher education, music teacher ontology

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Authors: Saeid Sahmani

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Due to size-dependent behavior of nanostrustures, the classical continuum models are not applicable for the analyses at this submicrion size. Surface stress effect is one of the most important matters which make the nanoscale structures to have different properties compared to the conventional structures due to high surface to volume ratio. In the present study, free vibration characteristics of nanoplates are investigated including surface stress effects. To this end, non-classical plate model based on Gurtin-Murdoch elasticity theory is proposed to evaluate the surface stress effects on the vibrational behavior of nanoplates subjected to different boundary conditions. Generalized differential quadrature (GDQ) method is employed to discretize the governing non-classical differential equations along with various edge supports. Selected numerical results are given to demonstrate the distinction between the behavior of nanoplates predicted by the classical and present non-classical plate models that leads to illustrate the great influence of surface stress effect. It is observed that this influence quite depends on the magnitude of the surface elastic constants which are relevant to the selected material.

Keywords: nanomechanics, surface stress, free vibration, GDQ method, small scale effect

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Authors: Ramona-Niculina Jurcau, Ioana-Marieta Jurcau, Dong Hun Kwak, Nicolae-Alexandru Colceriu

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Background: Stress management (SM) is a topic of great academic interest and equally a task to accomplish. In addition, it is recognized the beneficial role of unconventional therapies (UCT) in stress modulation. Aims: The aim was to evaluate medical (MS) versus non-medical students’ (NMS) opinions about academic stress management (ASM) using UCT. Methods: MS (n=103, third year males and females) and NMS (n=112, males and females, from humanities faculties, different years of study), out of their academic program, voluntarily answered to a questionnaire concerning: a) Classification of the four most important academic stress factors; b) The extent to which their daily life influences academic stress; c) The most important SM methods they know; d) Which of these methods they are applying; e) the UCT they know or about which they have heard; f) Which of these they know to have stress modulation effects; g) Which of these UCT, participants are using or would like to use for modulating stress; and if participants use UTC for their own choose or following a specialist consultation in those therapies (SCT); h) If they heard about the following UCT and what opinion they have (using visual analogue scale) about their use (following CST) for the ASM: Phytotherapy (PT), apitherapy (AT), homeopathy (H), ayurvedic medicine (AM), traditional Chinese medicine (TCM), music therapy (MT), color therapy (CT), forest therapy (FT). Results: Among the four most important academic stress factors, for MS more than for NMS, are: busy schedule, large amount of information taught; high level of performance required, reduced time for relaxing. The most important methods for SM that MS and NMS know, hierarchically are: listen to music, meeting friends, playing sport, hiking, sleep, regularly breaks, seeing positive side, faith; of which, NMS more than MS, are partially applying to themselves. UCT about which MS and less NMS have heard, are phytotherapy, apitherapy, acupuncture, reiki. Of these UTC, participants know to have stress modulation effects: some plants, bee’s products and music; they use or would like to use for ASM (the majority without SCT) certain teas, honey and music. Most of MS and only some NMS heard about PT, AT, TCM, MT and much less about H, AM, CT, TT. NMS more than MS, would use these UCT, following CST. Conclusions: 1) Academic stress is similarly reflected in MS and NMS opinions. 2) MS and NMS apply similar but very few UCT for stress modulation. 3) Information that MS and NMS have about UCT and their ASM application is reduced. 4) It is remarkable that MS and especially NMS, are open to UCT use for ASM, following an SCT.

Keywords: academic stress, stress management, stress modulation, medical students, non-medical students, unconventional therapies

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Authors: Antonio M. Oliveira, Patricia Oliveira-Silva, Jose Matias Alves, Gary McPherson

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The music teaching is oriented towards offering formal music training. Due to its specificities, this vocational program starts at a very young age. Although provided by the State, the offer is limited to 6 schools throughout the country, which means that the vacancies for prospective students are very limited every year. It is therefore crucial that these vacancies be taken by especially motivated children grown within households that offer the ideal setting for success. Some of the instruments used to evaluate musical performance are highly sensitive to specific previous training, what represents a severe validity problem for testing children who have had restricted opportunities for formal training. Moreover, these practices may be unfair because, for instance, they may not reflect the candidates’ music aptitudes. Based on what constitutes a prerequisite for making an excellent music student, researchers in this field have long argued that motivation, task commitment, and parents’ support are as important as ability. Thus, the aim of this study is: (1) to prepare an inventory of admission requirements in Australia, Portugal and Ireland; (2) to examine whether the candidates to music conservatories and parents’ level of motivation, assessed at three evaluation points (i.e., admission, at the end of the first year, and at the end of the second year), correlates positively with the candidates’ progress in learning a musical instrument (i.e., whether motivation at the admission may predict student musicianship); (3) an adaptation of an existing instrument to assess the motivation (i.e., to adapt the items to the music setting, focusing on the motivation for playing a musical instrument). The inclusion criteria are: only children registered in the administrative services to be evaluated for entrance to the conservatory will be accepted for this study. The expected number of participants is fifty (5-6 years old) in all the three frequency schemes: integrated, articulated and supplementary. Revisiting musical admission procedures is of particular importance and relevance to musical education because this debate may bring guidance and assistance about the needed improvement to make the process of admission fairer and more transparent.

Keywords: music learning, music admission requirements, student’s motivation, parent’s motivation

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Authors: Hanna Poikonen, Petri Toiviainen, Mari Tervaniemi

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Event-related potentials (ERPs) evoked by simple tones in the brain have been extensively studied. However, in reality the music surrounding us is spectrally and temporally complex and dynamic. Thus, the research using natural sounds is crucial in understanding the operation of the brain in its natural environment. Music is an excellent example of natural stimulation, which, in various forms, has always been an essential part of different cultures. In addition to sensory responses, music elicits vast cognitive and emotional processes in the brain. When compared to laymen, professional musicians have stronger ERP responses in processing individual musical features in simple tone sequences, such as changes in pitch, timbre and harmony. Here we show that the ERP responses evoked by rapid changes in individual musical features are more intense in musicians than in laymen, also while listening to long excerpts of the composition Carmen. Interestingly, for professional dancers, the amplitudes of the cognitive P300 response are weaker than for musicians but still stronger than for laymen. Also, the cognitive P300 latencies of musicians are significantly shorter whereas the latencies of laymen are significantly longer. In contrast, sensory N100 do not differ in amplitude or latency between musicians and laymen. These results, acquired from a novel ERP methodology for natural music, suggest that we can take the leap of studying the brain with long pieces of natural music also with the ERP method of electroencephalography (EEG), as has already been made with functional magnetic resonance (fMRI), as these two brain imaging devices complement each other.

Keywords: electroencephalography, expertise, musical features, real-life music

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Authors: R. C. Tyagi

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Quasi-periodicity of frequency intervals observed in Shruti based Absolute Scale of Music has been used to graphically identify the Anchor notes ‘Vadi’ and ‘Samvadi’ which are nodal points for expansion, elaboration and iteration of the emotional theme represented by the characteristic tonic arrangement in Raga compositions. This analysis leads to defining the Tonic parameters in the octave including the key-note frequency, tonic intervals’ anchor notes and the on-set and range of quasi-periodicities as exponents of 2. Such uniformity of representation of characteristic data would facilitate computational analysis and synthesis of music compositions and also help develop noise suppression techniques. Criteria for tuning of strings for compatibility with placement of frets on finger boards is discussed. Natural Rhythmic cycles in music compositions are analytically shown to lie between 3 and 126 beats.

Keywords: absolute scale, anchor notes, computational analysis, frets, innovation, noise suppression, Quasi-periodicity, rhythmic cycle, tonic interval, Shruti

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Authors: Ali Akbar

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The main purpose of this essay is to examine whether or not the earthly punishments in regards to apostates that are often found in classical Islamic sources are applicable in the present context. The paper indeed addresses how Muslims should understand the question of apostasy in the contemporary context. To do so, the paper first argues that an accurate understanding of the way the Quranic verses and prophetic hadiths deal with the concept of apostasy could help us rethink and re-examine the classical Islamic laws on apostasy in the present context. In addition, building on Abdolkarim Soroush’s theory of contraction and expansion of religious knowledge, this article argues that approaches to apostasy in the present context can move away from what prescribed by classical Islamic laws. Finally, it argues that instances of persecution of apostates in the early days of Islam during the Medinan period of Muhammad’s prophetic mission should be interpreted in their own socio-historical context. Rereading these reports within our modern context supports the mutability of the traditional corporal punishments of apostasy.

Keywords: apostasy, Islam, Quran, hadith, Abdolkarim Soroush, contextualization

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Authors: Rohit Kamal, Devaki Perumal Rajaram, Rajam Krishna, Sai Kumar Pindagiri, Silas Danielraj

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Introduction: According to WHO, Global health observatory at least 2.8 million people die each year because of obesity and overweight. This is mainly because of the adverse metabolic effects of obesity and overweight on blood pressure, lipid profile especially cholesterol and insulin resistance. To achieve optimum health WHO has set the BMI in the range of 18.5 to 24.9 kg/m2. Due to modernization of life style, physical exercise in the form of work is no longer a possibility and hence an effective way to burn out calories to achieve the optimum BMI is the need of the hour. Studies have shown that exercising for more than 60 minutes /day helps to maintain the weight and to reduce the weight exercise should be done for 90 minutes a day. Moderate exercise for about 30 min is essential for burning up of calories. People with low endurance fail to perform even the low intensity exercise for minimal time. Hence, it is necessary to find out some effective method to increase the endurance time. Methodology: This study was approved by the Institutional Ethical committee of our college. After getting written informed consent, 25 apparently healthy males between the age group 18-20 years were selected. Subjects are with muscular disorder, subjects who are Hypertensive, Diabetes, Smokers, Alcoholics, taking drugs affecting the muscle strength. To determine the endurance time: Maximum voluntary contraction (MVC) was measured by asking the participants to squeeze the hand grip dynamometer as hard as possible and hold it for 3 seconds. This procedure was repeated thrice and the average of the three reading was taken as the maximum voluntary contraction. The participant was then asked to squeeze the dynamometer and hold it at 70% of the maximum voluntary contraction while hearing fast tempo music which was played for about ten minutes then the participant was asked to relax for ten minutes and was made to hold the hand grip dynamometer at 70% of the maximum voluntary contraction while hearing slow tempo music. To avoid the bias of getting habituated to the procedure the order of hearing for the fast and slow tempo music was changed. The time for which they can hold it at 70% of MVC was determined by using a stop watch and that was taken as the endurance time. Results: The mean value of the endurance time during fast and slow tempo music was compared in all the subjects. The mean MVC was 34.92 N. The mean endurance time was 21.8 (16.3) seconds with slow tempo music which was more then with fast tempo music with which the mean endurance time was 20.6 (11.7) seconds. The preference was more for slow tempo music then for fast tempo music. Conclusion: Music when played during exercise by some unknown mechanism helps to increase the endurance time by alleviating the symptoms of lactic acid accumulation.

Keywords: endurance time, fast tempo music, maximum voluntary contraction, slow tempo music

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Authors: Aster Anderson Rugamba

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Context: Live music in Burundi is currently facing neglect and a decline in popularity, resulting in artists struggling to generate income from this field. Additionally, live music from Burundi has not been able to gain traction in the international market. It is essential to establish various structures and organizations to promote cultural events and support artistic endeavors in music and performing arts. Research Aim: The aim of this research is to seek new knowledge and understanding in the field of live music and its content in Burundi. Furthermore, it aims to connect with other professionals in the industry, make new discoveries, and explore potential collaborations and investments. Methodology: The research will utilize both quantitative and qualitative research methodologies. The quantitative approach will involve a sample size of 57 musician artists in Burundi. It will employ closed-ended questions and gather quantitative data to ensure a large sample size and high external validity. The qualitative approach will provide deeper insights and understanding through open-ended questions and in-depth interviews with selected participants. Findings: The research expects to find new theories, methodologies, empirical findings, and applications of existing knowledge that can contribute to the development of live music in Burundi. By exploring the challenges faced by artists and identifying potential solutions, the study aims to establish live music as a catalyst for development and generate a positive impact on both the Burundian and international community. Theoretical Importance: Theoretical contributions of this research will expand the current understanding of the live music industry in Burundi. It will propose new theories and models to address the issues faced by artists and highlight the potential of live music as a lucrative and influential industry. By bridging the gap between theory and practice, the research aims to provide valuable insights for academics, professionals, and policymakers. Data Collection and Analysis Procedures: Data will be collected through surveys, interviews, and archival research. Surveys will be administered to the sample of 57 musician artists, while interviews will be conducted to gain in-depth insights from selected participants. The collected data will be analyzed using both quantitative and qualitative methods, including statistical analysis and thematic analysis, respectively. This mixed-method approach will ensure a comprehensive and rigorous examination of the research questions addressed.

Keywords: business music in burundi, music in burundi, promotion of art, burundi music culture

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Authors: Aishwarya Ravichandra, Kirtana Kirtivasan, Adithi Mahesh, Ashwini S.Savanth

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A Non-Contact Digital Music System has been conceptualized and implemented to create a new era of digital music. This system replaces the strings of a traditional stringed instrument with laser beams to avoid bruising of the user’s hand. The system consists of seven laser modules, detector modules and distance sensors that form the basic hardware blocks of this instrument. Arduino ATmega2560 microcontroller is used as the primary interface between the hardware and the software. MIDI (Musical Instrument Digital Interface) is used as the protocol to establish communication between the instrument and the virtual synthesizer software.

Keywords: Arduino, detector, laser, MIDI, note on, note off, pitch bend, Sharp IR distance sensor

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Authors: Mohammad Moussa Khalaf

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As a significant term in Arab music, ṭarab identifies a particular expression of feelings and emotions, especially in the vocal practice of Arab music. Ṭarab aims to take both the performer and the audience from a normal feeling state to a new state of spiritual feeling through the art of mawwāl. Because of the expertise required for mawwāl, the ability to reach ṭarab has long been considered an indication that a musician has reached a high musical level. Another significant Islamic concept related to feelings and emotions is khushūʿ. It is known that one of the ways to get Khāsheʿ (humble to God) is the artistic reading of the holy Qur’ān. The artistic recitation of the Qur’ān is tajwīd. Like mawwāl, tajwīd requires a high-level rendition to lead the listener to the special emotional state. The research will focus on the relationships between ṭarab, khushūʿ, tajwīd, and mawwāl in Islamic-Arab culture in a way that has not been addressed previously. The relationships between tajwid and mawwāl, ṭarab and khushūʿ would be identified through the examination of musical factors, socio-cultural factors, and emotional factors.

Keywords: Arab music, Ṭarab, Mawwāl, Khushūʿ, Tajwīd, Islam

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Authors: Francisco Luis Reyes

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European colonization had a profound impact on Latin America. The influence of the old continent can be perceived in the culture, religion, and language of the region as well as the beliefs and attitudes of the population. Music education is not an exception to this phenomenon. With Europeans controlling cultural life and erecting educational institutions across the continent for several centuries, Western European Art Music (WEAM) has polarized music learning in formal spaces. In contrast, the musics from the indigenous population, the African slaves, and the ones that emerged as a result of the cultural mélanges have largely been excluded from primary and secondary schooling. The purpose of this paper is to suggest the inclusion of indigenous music education in primary and secondary music education. The paper employs a philosophical inquiry in order to achieve this aim. Philosophical inquiry seeks to uncover and examine individuals' unconscious beliefs, principles, values, and assumptions to envision potential possibilities. This involves identifying and describing issues within current music teaching and learning practices. High-quality philosophical research tackles problems that are sufficiently narrow (addressing a specific aspect of a single complex topic), realistic (reflecting the experiences of music education), and significant (addressing a widespread and timely issue). Consequently, this methodological approach fits this topic, as the research addresses the omnipresence of WEAM in Latin American music education, the exclusion of indigenous music, and argues about the transformational impact said artistic expressions can have on practices in the region. The paper initially addresses how WEAM became ubiquitous in the region by recounting historical events, and adressing the issues other types of music face entering higher education. According to Shifres and Rosabal-Coto (2017) Latin America still upholds the musical heritage of their colonial period, and its formal music education institutions promote the European ontology instilled during European expansion. In accordance, the work of Reyes and Lorenzo-Quiles (2024), and Soler, Lorenzo-Quiles, and Hargreaves (2014), demonstrate how music institutions in the region uphold foreign narratives. Their studies show that music programs in Puerto Rico and Colombia instruct students in WEAM as well as require skills in said art form to enter the profession, just like other authors have argued (Cain & Walden, 2019, Walden, 2016). Subsequently, the research explains the issues faced by prospective music educators that do not practice WEAM. Roberts (1991a, 1991b, 1993), Green (2012) have found that music education students that do not adhere to the musical culture of their institution, are less likely to finish their degrees. Hence, practicioners of tradional musics might feel out of place in the environment. The ubiquity of WEAM and the exclusion of traditional musics of the region, provide the primary challenges to the inclusion of indigenous musics in formal spaces in primary and secondary education. The presentation then laids the framework for the inclusion indigenous music, and conclusively offers examples of how the musical expressions from the continent can improove the music education practices of the region. As an ending, the article highlights the benefits of these musics that are lacking in current practices.

Keywords: indigenous music education, postmodern music education, decolonization in music education, music education practice, Latin American music education

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Authors: Pavel Svoboda, Oldřich Müller

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The paper contains a screening of the opinions of helping professional workers working in a home for seniors with individuals with neurocognitive disorders and compares them with the opinions of a younger generation of students who are just preparing for this work. The authors carried out a comparative questionnaire survey with both target groups, focusing on the analysis and comparison of possible differences in their knowledge in the field of care for elderly people with neurocognitive disorders. Specifically, they focused on knowledge and experience with approaches, methods and tools applicable within the framework of music therapy interventions, as they are understood in practice in comparison with the theoretical knowledge of secondary school students focused on social work. The questionnaire was mainly aimed at assessing the knowledge of the possibilities of effective memory stimulation of the elderly and their communication skills using the means of music. The conducted investigation was based on the research of studies dealing with so-called non-pharmacological approaches to the given clientele; for professional caregivers, it followed music therapy lessons, which the authors regularly implemented from the beginning of 2022. Its results will, among other things, serve as the basis for an upcoming study with a scoping design review.

Keywords: neurocognitive disorders, seniors, music therapy intervention, melody, rhythm, text, memory stimulation, communication skills

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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: Irina Maria Artinescu, Costin Radu Boldea, Eduard-Ionut Matei

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The paper is a comparative study of two classical variants of parallel projection methods for solving the convex feasibility problem with their equivalents that involve variable weights in the construction of the solutions. We used a graphical representation of these methods for inpainting a convex area of an image in order to investigate their effectiveness in image reconstruction applications. We also presented a numerical analysis of the convergence of these four algorithms in terms of the average number of steps and execution time in classical CPU and, alternatively, in parallel GPU implementation.

Keywords: convex feasibility problem, convergence analysis, inpainting, parallel projection methods

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Authors: Roni Granot, Erica Polini

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Music is often described in terms of non-auditory adjectives such as a rising melody, a bright sound, or a zigzagged contour. Such cross modal associations have been studied with simple isolated musical parameters, but only rarely in rich musical contexts. The current study probes cross sensory associations with polarity based dimensions by means of pairings of 10 adjectives: blunt-sharp, relaxed-tense, heavy-light, low (in space)-high, low (pitch)-high, big-small, hard-soft, active-passive, bright-dark, sad-happy. 30 participants (randomly assigned to one of two groups) were asked to rate one of 27 short saxophone improvisations on a 1 to 6 scale where 1 and six correspond to the opposite pole of each dimension. The 27 improvisations included three exemplars for each of three dimensions (size, brightness, sharpness), played by three different players. Here we focus on the question of whether ratings of scales corresponding with the musical dimension were consistently rated as such (e.g. music improvised to represent a white circle rated as bright in contrast with music improvised to represent a dark circle rated as dark). Overall the average scores by dimension showed an upward trend in the equivalent verbal scale, with a low rating for small, bright and sharp musical improvisations and higher scores for large, dark and blunt improvisations. Friedman tests indicate a statistically significant difference for brightness (χ2 (2) = 19.704, p = .000) and sharpness dimensions (χ2 (2) = 15.750, p = .000), but not for size (χ2 (2) = 1.444, p = .486). Post hoc analysis with Wilcoxon signed-rank tests within the brightness dimension, show significant differences among all possible parings resulted in significant differences: the rankings of 'bright' and 'dark' (Z = -3.310, p = .001), of 'bright' and 'medium' (Z = -2.438, p = .015) and of 'dark' and 'medium' music (Z = -2.714, p = .007); but only differences between the extreme contrasts within the sharpness dimension : 'sharp' and 'blunt' music (Z = -3.147, p = .002) and between 'sharp' and 'medium' music rated on the sharpness scale (Z = - 3.054, p = .002), but not between 'medium' and 'blunt' music (Z = -.982, p = .326). In summary our study suggests a privileged link between music and the perceptual and semantic domain of brightness. In contrast, size seems to be very difficult to convey in music, whereas sharpness seems to be mapped onto the two extremes (sharp vs. blunt) rather than continuously. This is nicely reflected in the musical literature in titles and texts which stress the association between music and concepts of light or darkness rather than sharpness or size.

Keywords: audiovisual, brightness, cross-modal perception, cross-sensory correspondences, size, visual angularity

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Authors: Sabahat Nadeem, Farman Ali Khan

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Emotions are considered as a vital factor affecting the process of information handling, level of attention, memory capacity and decision making. Latest e-Learning systems are therefore taking into consideration the effective state of learners to make the learning process more effective and enjoyable. One such use of user’s affective information is in the systems that tend to regulate users’ emotions to a state optimally desirable for learning. So for, this objective has been tried to be achieved with the help of teaching strategies, background music, guided imagery, video clips and odors. Nevertheless, we know that colors can affect human emotions. Relationship between color and emotions has a strong influence on how we perceive our environment. Similarly, the colors of the interface can also affect the user positively as well as negatively. This affective behavior of color and its use as emotion regulation agent is not yet exploited. Therefore, this research proposes a Color-based Emotion Regulation Model (CERM), a new framework that can automatically adapt its colors according to user’s emotional state and her personality type and can help in producing a desirable emotional effect, aiming at providing an unobtrusive emotional support to the users of e-learning environment. The evaluation of CERM is carried out by comparing it with classical non-adaptive, static colored learning management system. Results indicate that colors of the interface, when carefully selected has significant positive impact on learner’s emotions.

Keywords: effective learning, e-learning, emotion regulation, emotional design

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Authors: Azza Taha Zaki

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The position Eugene O’Neill occupies in the history of American drama is undisputable. Critics have agreed that the American theatre was waiting for O’Neill to give it substance, character, and value. The American dramatist continues to be considered as a major influence on the body of dramatic repertoire across the globe. The American theatre before O’Neill knew playwrights who were mostly viewed as entertainers. The serious drama had to wait until O’Neill started his career with expressionistic and social drama. His breakthrough, however, came in 1925 when he published Desire Under the Elms, described as the first important tragedy to be written in America. Mourning Becomes Electra, published in 1931, further reinforced the reputation of Eugene O’Neill and was described as his 'magnum opus'. Aspiring to portray the essence of life and man’s innermost conflicts, O’Neill turned to the classical model, rather than to social realistic drama, to create modern tragedies with the aid of the then-new science of psychology. The present paper aims to undertake an in-depth study of how overtones from classical tragedies by the classical masters Aeschylus, Sophocles, and Euripides resonate through O’Neill’s two plays. The paper shows how leaning on classical themes and concepts interpreted in terms of psychological forces have added depth and tragic substance to a modern milieu and produced masterpieces of dramaturgy.

Keywords: classical, drama, O'Neill, modern, tragic

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Authors: Umar Sheikh Tahir

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Before al-Ghazālī, Islamic scholars perceived logic as an intrusive knowledge. The knowledge therefore, did not receive ample attention among scholars on how it should be adapted into Islamic sciences. General scholarship in that period rejects logic as an instrumental knowledge. This attitude became unquestionable to the scholars from different perspectives with diversification of suggestions in the pre-al-Ghazālī’s period. However, al-Ghazālī proclaimed with new perspective that transform Logic from ‘intrusive knowledge’ to a useful tool for Islamic sciences. This study explores the contributions of al-Ghazālī to epistemology regarding the use and the relevance of Logic. The study applies qualitative research methodology dealing strictly with secondary data from medieval age and contemporary sources. The study concludes that al-Ghazālī’s contributions which supported the transformation of Logic to useful tool in the Muslim world were drawn from his experience within Islamic tradition. He succeeded in reconciling Islamic tradition with the wisdom of Greek sciences.

Keywords: Al-Ghazālī, classical logic, epistemology, Islamdom and Islamic sciences

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Authors: Radhwan Yousif Sedik Al-Jawadi

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Optimization is necessary for finding appropriate solutions to a range of real-life problems. In particular, genetic (or more generally, evolutionary) algorithms have proved very useful in solving many problems for which analytical solutions are not available. In this paper, we present an optimization algorithm called Dynamic Schema with Dissimilarity and Similarity of Chromosomes (DSDSC) which is a variant of the classical genetic algorithm. This approach constructs new chromosomes from a schema and pairs of existing ones by exploring their dissimilarities and similarities. To show the effectiveness of the algorithm, it is tested and compared with the classical GA, on 15 two-dimensional optimization problems taken from literature. We have found that, in most cases, our method is better than the classical genetic algorithm.

Keywords: chromosome injection, dynamic schema, genetic algorithm, similarity and dissimilarity

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Authors: Damir Latypov

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A hybrid classical-quantum algorithm to solve boundary integral equations (BIE) arising in problems of electromagnetic and acoustic scattering is proposed. The quantum speed-up is due to a Quantum Linear System Algorithm (QLSA). The original QLSA of Harrow et al. provides an exponential speed-up over the best-known classical algorithms but only in the case of sparse systems. Due to the non-local nature of integral operators, matrices arising from discretization of BIEs, are, however, dense. A QLSA for dense matrices was introduced in 2017. Its runtime as function of the system's size N is bounded by O(√Npolylog(N)). The run time of the best-known classical algorithm for an arbitrary dense matrix scales as O(N².³⁷³). Instead of exponential as in case of sparse matrices, here we have only a polynomial speed-up. Nevertheless, sufficiently high power of this polynomial, ~4.7, should make QLSA an appealing alternative. Unfortunately for the QLSA, the asymptotic separability of the Green's function leads to high compressibility of the BIEs matrices. Classical fast algorithms such as Multilevel Fast Multipole Method (MLFMM) take advantage of this fact and reduce the runtime to O(Nlog(N)), i.e., the QLSA is only quadratically faster than the MLFMM. To be truly impactful for computational electromagnetics and acoustics engineers, QLSA must provide more substantial advantage than that. We propose a computational scheme which combines elements of the classical fast algorithms with the QLSA to achieve the required performance.

Keywords: quantum linear system algorithm, boundary integral equations, dense matrices, electromagnetic scattering theory

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Authors: Luis Alvarado, Victor Poblete, Isaac Gonzalez, Yetzabeth Gonzalez

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In MIREX 2016 (http://www.music-ir.org/mirex), the deep neural network (DNN)-Deep Chroma Extractor, proposed by Korzeniowski and Wiedmer, reached the highest score in an audio chord recognition task. In the present paper, this tool is assessed under acoustic reverberant environments and distinct source-microphone distances. The evaluation dataset comprises The Beatles and Queen datasets. These datasets are sequentially re-recorded with a single microphone in a real reverberant chamber at four reverberation times (0 -anechoic-, 1, 2, and 3 s, approximately), as well as four source-microphone distances (32, 64, 128, and 256 cm). It is expected that the performance of the trained DNN will dramatically decrease under these acoustic conditions with signals degraded by room reverberation and distance to the source. Recently, the effect of the bio-inspired Locally-Normalized Cepstral Coefficients (LNCC), has been assessed in a text independent speaker verification task using speech signals degraded by additive noise at different signal-to-noise ratios with variations of recording distance, and it has also been assessed under reverberant conditions with variations of recording distance. LNCC showed a performance so high as the state-of-the-art Mel Frequency Cepstral Coefficient filters. Based on these results, this paper proposes a variation of locally-normalized triangular filters called Locally-Normalized Quarter Tone (LNQT) filters. By using the LNQT spectrogram, robustness improvements of the trained Deep Chroma Extractor are expected, compared with classical triangular filters, and thus compensating the music signal degradation improving the accuracy of the chord recognition system.

Keywords: chord recognition, deep neural networks, feature extraction, music information retrieval

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Authors: Johannes Van Der Sandt

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This paper explores and reflects on the power of music, and more specific singing as an instrument for integration, inclusion, group cohesion, collective cooperation, repairing social relationships and facilitating dialogue between groups in conflict. The General Assembly of the United Nations has declared the 21st of September as International Day of Peace. This day is dedicated to advocate and strengthen among all people, an annual day to strive for no violence and cease-fire. What role does music play in strengthening ideals of peace? The findings of this paper is a result of field and online research as well as a literature survey to identify the most important examples of institutions, instruments or initiatives where music serves as a vehicle for the transmission and promoting of peace ideals and acting to assist movements for social change. Important examples where singing and music were used as tools for peace activism are the 1987 Estonian Singing Revolution and the more recent peace engagement in the Afghan Conflict, both very good examples of the cultural capital of the local population used as catalyst for promoting peace. The author offers a concise and relevant overview of such initiatives with the aim to validate the power of music and song as tools to support the United Nation’s Declaration on the Promotion Among Youth of the Ideals of Peace, Mutual Respect and Understanding Between Peoples: Young people should be educated and made aware of the ideals of peace. They should be educated in a spirit of mutual understanding and respect for one another in order to develop an attitude of striving for equal rights for all human beings, believing in economic and social growth for all, together with a belief in disarmament and working towards the maintenance of peace and security worldwide.

Keywords: conflict, music, peace, singing

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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: Laura de Almeida

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This paper aims to present research involving the translation of classical books originally in English and translated into the Portuguese language. The objective is to analyze the linguistic varieties evident and how they appear in the other language the work was translated into. We based our study on the sociolinguistics theory, more specifically, the study of the Black English Vernacular. Our methodology is built on collecting data from the speech characters of the Black English Vernacular from some books such as The Adventures of Huckleberry Finn by Mark Twain. On doing so, we compare the two versions of a book and how they reflected the linguistic variety. Our purpose is to show that some translators do not worry when dealing with linguistic variety. In other words, they just translate the story without taking into account some important linguistic aspects which need attention, such as language variation.

Keywords: classical books, linguistic variation, sociolinguistics, translation

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Authors: Ali H. Muhammad

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This paper investigates both instrumental and emotional family support on employee job satisfaction and perception of work-family conflict. Instrumental family support is manifested in family behavior that contributes to the reduction of employee’s family responsibilities and keeping the physical home environment in a proper shape. Emotional family support includes the encouragement and praise that the employee receives from his family and families for the employee’s work problem and their role in assisting the employees in dealing with these problems. The paper suggests that instrumental and emotional family support increases employee’s job satisfaction. Furthermore, the study proposes that family support decreases employee’s perception of work-family conflict. In addition, this study examines the reliability and validity of the family support index developed by Lynda King and her colleagues in 1995. Confirmatory factor analysis is used to test the validity of the instrument in an Arab business setting. A paper-pencil questionnaire was used to collect data from a random sample of 70 Kuwaiti employees working in the oil sector. Data were analyzed using factor analysis, reliability tests, and regression analysis. Results confirmed the research hypothesis. Family support had a positive effect on job satisfaction. Furthermore, family support significantly contributed to the reduction of employee perception of work-family conflict.

Keywords: family support, job satisfaction, work-family conflict, Kuwait oil sector

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Authors: Ebim Matthew Abua

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In Chinua Achebe’s Things Fall Apart (henceforth, TFA), the character Unoka is portrayed as a weakling and indolent person even when he was a creative artist, a talented musician, and a mathematician. His lack of achievement becomes the barometer for measuring his success. Right from time, music is considered to be of great significance because of its capacity to recreate and retell social events. To this end, music is both a social act and a creative art. As a social act, music is a discursive medium that exploits the dynamics of art in its evaluation of society. Music is so much a part of human existence that its presence in literature can help readers relate to fictional situations and characters. In this paper, the character Unoka is examined against the backdrop of his musical proclivities and his contributions to the overall development of TFA. Unfortunately, Achebe’s Things Fall Apart, a product of artistic creativity, portrays the personality of Unoka as lazy and uninspiring because he (Unoka) is a musician who is busy playing his flute and hardly doing anything productive. This paper is significant because it examines the literary and or linguistic depiction of Unoka and the aftermath of that depiction on the entire novel and, by extension, the larger society. Methodologically, this paper adopted the qualitative approach from the ethnography of communication (EOC), which is the analysis of communication within the wider context of the social and cultural practices and beliefs of the members of a particular culture or speech community. The aim of this qualitative research method includes the ability to discern which communication acts and/or codes are important to different groups, what types of meanings groups apply to different communication events, and how group members learn these codes to provide insight into particular communities. The study reveals that the people of Umuofia were mono-directional in their economy, and there was no room for diversification. One was either a farmer, or such a person was relegated to the background. Unoka, taking up a new challenge of diversifying the economy from the perspective of entertainment, was viewed as a misnomer. This study opens the door to other areas of studying Achebe’s epic novel apart from the critical works of literary artists that have been dished out over time.

Keywords: literature, popular culture, unoka, things fall apart

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Authors: Taufik Hidayah

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Wayang is a traditional puppet show originated from Java. This traditional art is characterized by distinctive Hinduism influence. Wayang reflects the social life of the Javanese society. It contains Javanese philosophy, myths, magical stories, and religion, as well as educational media and transmission for noble values of Javanese society conveyed through the story. Nowadays, the performance of wayang has faced a new challenge to maintain its existence in the public life of Javanese society. Modernity has penetrated into every shape of culture. Many people consider traditional culture as old fashioned, particularly the young generation. That is one of the reasons why many people have left traditional culture. For maintaining the existence of wayang, a new art called ‘wayang hip hop’ has arisen. Wayang hip hop seeks to modify wayang show into a more modern form, but without removing any principles and main functions of wayang art. This article will discuss theoretically the changes and traditional continuity in wayang hip hop based on a literature review and qualitative approaches. Wayang hip hop uses hip-hop music as the background music in the show. It will discuss about the impact that comes with the existential strengthening of wayang hip hop especially among the Javanese society and discuss the opportunities that arise regarding the function of wayang hip-hop as a medium of education, social criticism, and cultural revitalization of the Javanese society.

Keywords: cultural revitalization, social criticism, education, continuity and change

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Authors: Mballa Abanda Serge, Henda Gnakate Biba, Romaric Guemno Kuate, Akono Rufine Nicole, Petfiang Sidonie, Bella Sidonie

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The main hypotheses proposed around the definition of the syllable and of music, of the common origin of music and language, should lead the reader to reflect on the cross-cutting questions raised by the debate on the notion of universals in linguistics and musicology. These are objects of controversy, and there lies its interest: the debate raises questions that are at the heart of theories on language. It is an inventive, original and innovative research thesis. The main hypotheses proposed around the definition of the syllable and of music, of the common origin of music and language, should lead the reader to reflect on the cross-cutting questions raised by the debate on the notion of universals in linguistics and musicology. These are objects of controversy, and there lies its interest: the debate raises questions that are at the heart of theories on language. It is an inventive, original and innovative research thesis. A contribution to the theoretical, musicological, ethno musicological and linguistic conceptualization of languages, giving rise to the practice of interlocution between the social and cognitive sciences, the activities of artistic creation and the question of modeling in the human sciences: mathematics, computer science, translation automation and artificial intelligence. When you apply this theory to any text of a folksong of a world-tone language, you do not only piece together the exact melody, rhythm, and harmonies of that song as if you knew it in advance but also the exact speaking of this language. The author believes that the issue of the disappearance of tonal languages and their preservation has been structurally resolved, as well as one of the greatest cultural equations related to the composition and creation of tonal, polytonal and random music. The experimentation confirming the theorization, It designed a semi-digital, semi-analog application which translates the tonal languages of Africa (about 2,100 languages) into blues, jazz, world music, polyphonic music, tonal and anatonal music and deterministic and random music). To test this application, I use a music reading and writing software that allows me to collect the data extracted from my mother tongue, which is already modeled in the musical staves saved in the ethnographic (semiotic) dictionary for automatic translation ( volume 2 of the book). Translation is done (from writing to writing, from writing to speech and from writing to music). Mode of operation: you type a text on your computer, a structured song (chorus-verse), and you command the machine a melody of blues, jazz and world music or variety etc. The software runs, giving you the option to choose harmonies, and then you select your melody.

Keywords: music, entanglement, langauge, science

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Authors: Matthias Haenisch, Katharina Hermann, Marc Godau, Verena Weidner

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Over the past two decades, international music education has been characterized by a growing interest in informal learning for formal contexts and a "compositional turn" that has moved from closed to open forms of composing. This change occurs under social and technological conditions that permeate 21st-century musical practices. This forms the background of Musical Communities in the (Post)Digital Age (MusCoDA), a four-year joint research project of the University of Erfurt (UE) and the University of Education Karlsruhe (PHK), funded by the German Federal Ministry of Education and Research (BMBF). Both explore songwriting processes as an example of collective creativity in (post)digital communities, one in formal and the other in informal learning contexts. Collective songwriting will be studied from a network perspective, that will allow us to view boundaries between both online and offline as well as formal and informal or hybrid contexts as permeable and to reconstruct musical learning practices. By comparing these songwriting processes, possibilities for a pedagogical-didactic interweaving of different educational worlds are highlighted. Therefore, the subproject of the University of Erfurt investigates school music lessons with the help of interviews, videography, and network maps by analyzing new digital pedagogical and didactic possibilities. In the first step, the international literature on songwriting in the music classroom was examined for design development. The analysis focused on the question of which methods and practices are circulating in the current literature. Results from this stage of the project form the basis for the first instructional design that will help teachers in planning regular music classes and subsequently reconstruct musical learning practices under these conditions. In analyzing the literature, we noticed certain structural methods and concepts that recur, such as the Building Blocks method and the pre-structuring of the songwriting process. From these findings, we developed a deck of cards that both captures the current state of research and serves as a method for design development. With this deck of cards, both teachers and students themselves can plan their individual songwriting lessons by independently selecting and arranging topic, structure, and action cards. In terms of science communication, music educators' interactions with the card game provide us with essential insights for developing the first design. The overall goal of MusCoDA is to develop an empirical model of collective musical creativity and learning and an instructional design for teaching music in the postdigital age.

Keywords: card game, collective songwriting, community of practice, network, postdigital

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