Search results for: music production

Authors: Bashayer Al-Enezi, Budoor Al-Sabti, Eman Al-Durai, Fatmah Kalban, Meshael Ahmed

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Production planning and control principles are concerned with planning, controlling and balancing all aspects of manufacturing including raw materials, finished goods, production schedules, and equipment requirements. Hence, an effective production planning and control system is very critical to the success of any factory. This project will focus on the application of production planning and control principles on “The National Canned Food Production and Trading Company (NCFP)” factory to find problems or areas for improvement.

Keywords: production planning, operations improvement, inventory management, National Canned Food Production and Trading Company (NCFP)

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Authors: Soyon Kim, Edward Kim

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In order to retrieve information from the massive stream of songs in the music industry, music search by title, lyrics, artist, mood, and genre has become more important. Despite the subjectivity and controversy over the definition of music genres across different nations and cultures, automatic genre classification systems that facilitate the process of music categorization have been developed. Manual genre selection by music producers is being provided as statistical data for designing automatic genre classification systems. In this paper, an automatic music genre classification system utilizing non-negative matrix factorization (NMF) is proposed. Short-term characteristics of the music signal can be captured based on the timbre features such as mel-frequency cepstral coefficient (MFCC), decorrelated filter bank (DFB), octave-based spectral contrast (OSC), and octave band sum (OBS). Long-term time-varying characteristics of the music signal can be summarized with (1) the statistical features such as mean, variance, minimum, and maximum of the timbre features and (2) the modulation spectrum features such as spectral flatness measure, spectral crest measure, spectral peak, spectral valley, and spectral contrast of the timbre features. Not only these conventional basic long-term feature vectors, but also NMF based feature vectors are proposed to be used together for genre classification. In the training stage, NMF basis vectors were extracted for each genre class. The NMF features were calculated in the log spectral magnitude domain (NMF-LSM) as well as in the basic feature vector domain (NMF-BFV). For NMF-LSM, an entire full band spectrum was used. However, for NMF-BFV, only low band spectrum was used since high frequency modulation spectrum of the basic feature vectors did not contain important information for genre classification. In the test stage, using the set of pre-trained NMF basis vectors, the genre classification system extracted the NMF weighting values of each genre as the NMF feature vectors. A support vector machine (SVM) was used as a classifier. The GTZAN multi-genre music database was used for training and testing. It is composed of 10 genres and 100 songs for each genre. To increase the reliability of the experiments, 10-fold cross validation was used. For a given input song, an extracted NMF-LSM feature vector was composed of 10 weighting values that corresponded to the classification probabilities for 10 genres. An NMF-BFV feature vector also had a dimensionality of 10. Combined with the basic long-term features such as statistical features and modulation spectrum features, the NMF features provided the increased accuracy with a slight increase in feature dimensionality. The conventional basic features by themselves yielded 84.0% accuracy, but the basic features with NMF-LSM and NMF-BFV provided 85.1% and 84.2% accuracy, respectively. The basic features required dimensionality of 460, but NMF-LSM and NMF-BFV required dimensionalities of 10 and 10, respectively. Combining the basic features, NMF-LSM and NMF-BFV together with the SVM with a radial basis function (RBF) kernel produced the significantly higher classification accuracy of 88.3% with a feature dimensionality of 480.

Keywords: mel-frequency cepstral coefficient (MFCC), music genre classification, non-negative matrix factorization (NMF), support vector machine (SVM)

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Authors: Ora Geiger

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Reading is a cognitive process of deciphering visual signs to produce meaning. During the reading process, written information of symbols and signs is received in the person’s eye and processed in the brain. This definition is relevant to both the reading of letters and the reading of musical notation. But while the letters of the alphabet are signs determined arbitrarily, notes are recorded systematically on a staff, with the location of each note on the staff indicating its relative pitch. In this paper, the researcher specifies the characteristics of alphabet reading in comparison to musical notation reading, and discusses the question whether a person diagnosed with dyslexia will necessarily have difficulty in reading musical notes. Dyslexia is a learning disorder that makes it difficult to acquire alphabet-reading skills due to difficulties expressed in the identification of letters, spelling, and other language deciphering skills. In order to read, one must be able to connect a symbol with a sound and to join the sounds into words. A person who has dyslexia finds it difficult to translate a graphic symbol into the sound that it represents. When teaching reading to children diagnosed with dyslexia, the multi-sensory approach, supporting the activation and involvement of most of the senses in the learning process, has been found to be particularly effective. According to this approach, when most senses participate in the reading learning process, it becomes more effective. During years of experience, the researcher, who is a music specialist, has been following the music reading learning process of elementary school age students, some of them diagnosed with Dyslexia, while studying to play soprano (descant) recorder. She argues that learning music reading while studying to play a musical instrument is a multi-sensory experience by its nature. The senses involved are: sight, hearing, touch, and the kinesthetic sense (motion), which provides the brain with information on the relative positions of the body. In this way, the learner experiences simultaneously visual, auditory, tactile, and kinesthetic impressions. The researcher concludes that there should be no contra-indication for teaching standard music reading to children with dyslexia if an appropriate process is offered. This conclusion is based on two main characteristics of music reading: (1) musical notation system is a systematic, logical, relative set of symbols written on a staff; and (2) music reading learning connected with playing a musical instrument is by its nature a multi-sensory activity since it combines sight, hearing, touch, and movement. This paper describes music reading teaching procedures and provides unique teaching methods that have been found to be effective for students who were diagnosed with Dyslexia. It provides theoretical explanations in addition to guidelines for music education practices.

Keywords: alphabet reading, dyslexia, multisensory teaching method, music reading, recorder playing

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Authors: Stacy Jarvis

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Databases such as JSTOR, RILM and WorldCat have been the main source and storage of literature in the music orb. The Reference Index to Music Literature is a bibliographic database of over 2.6 million citations to writings about music from over 70 countries. The Research Institute produces RILM for the Study of Music at the University of Buffalo. JSTOR is an e-library of academic journals, books, and primary sources. Database JSTOR helps scholars find, utilise, and build upon a vast range of literature through a powerful teaching and research platform. Another database, WorldCat, is the world's biggest library catalogue, assisting scholars in finding library materials online. An evaluation of these databases in the music sphere is conducted by looking into the description and intended use and finding similarities and differences among them. Through comparison, it is found that these aim to serve different purposes, though they have the same goal of providing and storing literature. Also, since each database has different parts of literature that it majors on, the intended use of the three databases is evaluated. This can be found in the description, scope, and intended uses section. These areas are crucial to the research as it addresses the functional or literature differences among the three databases. It is also found that these databases have different quantitative potentials. This is determined by addressing the year each database began collecting literature and the number of articles, periodicals, albums, conference proceedings, music, dissertations, digital media, essays collections, journal articles, monographs, online resources, reviews, and reference materials that can be found in each one of them. This can be found in the sections- description, scope and intended uses and the importance of the database in identifying literature on different topics. To compare the delivery of services to the users, the importance of databases in identifying literature on different topics is also addressed in the section -the importance of databases in identifying literature on different topics. Even though these databases are used in research, they all have disadvantages and advantages. This is addressed in the sections on advantages and disadvantages. This will be significant in determining which of the three is the best. Also, it will help address how the shortcomings of one database can be addressed by utilising two databases together while conducting research. It is addressed in the section- a combination of RILM and JSTOR. All this information revolves around the idea that a huge amount of quantitative and qualitative data can be found in the presented databases on music and digital content; however, each of the given databases has a different construction and material features contributing to the musical scholarship in its way.

Keywords: RILM, JSTOR, WorldCat, database, literature, research

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Authors: Thanapat Chaireongsirikul, Apichit Svang-Ariyaskul

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An analysis of mass balance, energy performance, and environmental impact assessment were performed to evaluate bioethanol production in Thailand. Thailand is an agricultural country. Thai government plans to increase the use of alternative energy to 20 percent by 2022. One of the primary campaigns is to promote a bioethanol production from abundant biomass resources such as bitter cassava, molasses and sugarcane. The bioethanol production is composed of three stages: cultivation, pretreatment, and bioethanol conversion. All of mass, material, fuel, and energy were calculated to determine the environmental impact of three types of bioethanol production: bioethanol production from cassava (CBP), bioethanol production from molasses (MBP), and bioethanol production from rice straw (RBP). The results showed that bioethanol production from cassava has the best environmental performance. CBP contributes less impact when compared to the other processes.

Keywords: bioethanol production, biofuel, LCA, chemical engineering

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Authors: Nutthan Inkhong, Sutthiphong Ruangchante

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

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

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Authors: Elisa Negretto

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

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

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Authors: Paulo Da Silva Quadros

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This work aims to point out comparative parameters between the artistic production of two exponents of the contemporary popular culture scene: Caetano Veloso (Brazil) and David Bowie (England). Both Caetano Veloso and David Bowie were pioneers in establishing an aesthetic game between various artistic expressions at the service of the music-visual scene, that is, the conceptual interconnections between several forms of aesthetic processes, such as fine arts, theatre, cinema, poetry, and literature. There are also correlations in their expressive attitudes of art, especially regarding the dialogue between the fields of art and politics (concern with respect to human rights, human dignity, racial issues, tolerance, gender issues, and sexuality, among others); the constant tension and cunning game between market, free expression and critical sense; the sophisticated, playful mechanisms of metalanguage and aesthetic metacritique. Fact is that both of them almost came to cooperate with each other in the 1970s when Caetano was in exile in England, and when both had at the same time the same music producer, who tried to bring them closer, noticing similar aesthetic qualities in both artistic works, which was later glimpsed by some music critics. Among many of the most influential issues in Caetano's and Bowie's game of artistic-aesthetic expression are, for example, the ideas advocated by the sensation of strangeness (Albert Camus), art as transcendence (Friedrich Nietzsche), the deconstruction and reconstruction of auratic reconfiguration of artistic signs (Walter Benjamin and Andy Warhol). For deepen more theoretical issues, the following authors will be used as supportive interpretative references: Hans-Georg Gadamer, Immanuel Kant, Friedrich Schiller, Johan Huizinga. In addition to the aesthetic meanings of Ars Ludens characteristics of the two artists, the following supporting references will be also added: the question of technique (Martin Heidegger), the logic of sense (Gilles Deleuze), art as an event and the sense of the gesture of art ( Maria Teresa Cruz), the society of spectacle (Guy Debord), Verarbeitung and Durcharbeitung (Sigmund Freud), the poetics of interpretation and the sign of relation (Cremilda Medina). The purpose of such interpretative references is to seek to understand, from a cultural reading perspective (cultural semiology), some significant elements in the dynamics of aesthetic and media interconnections of both artists, which made them as some of the most influential interlocutors in contemporary music aesthetic thought, as a playful vivid experience of life and art.

Keywords: Caetano Veloso, David Bowie, music aesthetics, symbolic playfulness, cultural reading

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Authors: Ioannis Andrianakis, Panagiotis Panagiotopoulos, Kyriakos Chatzidimitriou, Dimitrios Tampakis, Manolis Falelakis

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Live music, whether performed in organized venues, restaurants, hotels or any other spots, creates value chains that support and develop local economies and tourism development. In this paper, we describe PerformAnts, a platform that increases the mobility of musicians and their accessibility to remotely located venues by rationalizing the cost of live acts. By analyzing the event history and taking into account their potential availability, the platform provides bespoke recommendations to both bands and venues while also facilitating the organization of tours and helping rationalize transportation expenses by realizing an innovative mechanism called “chain booking”. Moreover, the platform provides an environment where complicated tasks such as technical and financial negotiations, concert promotion or copyrights are easily manipulated by users using best practices. The proposed solution provides important benefits to the whole spectrum of small/medium size concert organizers, as the complexity and the cost of the production are rationalized. The environment is also very beneficial for local talent, musicians that are very mobile, venues located away from large urban areas or in touristic destinations, and managers who will be in a position to coordinate a larger number of musicians without extra effort.

Keywords: machine learning, music industry, creative industries, web applications

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Authors: Meiying Liao, Poya Huang

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The aesthetic domain is one of the six major domains in the Taiwanese preschool curriculum, encompassing visual arts, music, and dramatic play. Its primary objective is to cultivate children’s abilities in exploration and awareness, expression and creation, and response and appreciation. The purpose of this study was to explore the effects of hosting a vocal music concert on aesthetic inspiration and learning among preschoolers in a preschool setting. The primary research method employed was a case study focusing on a private preschool in Northern Taiwan that organized a school-wide event featuring two vocalists. The concert repertoires included children’s songs, folk songs, and arias performed in Mandarin, Hakka, English, German, and Italian. In addition to professional performances, preschool teachers actively participated by presenting a children’s song. A total of 5 classes, comprising approximately 150 preschoolers, along with 16 teachers and staff, participated in the event. Data collection methods included observation, interviews, and documents. Results indicated that both teachers and children thoroughly enjoyed the concert, with high levels of acceptance when the program was appropriately designed and hosted. Teachers reported that post-concert discussions with children revealed the latter’s ability to recall people, events, and elements observed during the performance, expressing their impressions of the most memorable segments. The concert effectively achieved the goals of the aesthetic domain, particularly in fostering response and appreciation. It also inspired preschoolers’ interest in music. Many teachers noted an increased desire for performance among preschoolers after exposure to the concert, with children imitating the performers and their expressions. Remarkably, one class extended this experience by incorporating it into the curriculum, autonomously organizing a high-quality concert in the music learning center. Parents also reported that preschoolers enthusiastically shared their concert experiences at home. In conclusion, despite being a single event, the positive responses from preschoolers towards the music performance suggest a meaningful impact. These experiences extended into the curriculum, as firsthand exposure to performances allowed teachers to deepen related topics, fostering a habit of autonomous learning in the designated learning centers.

Keywords: concert, early childhood music education, aesthetic education, music develpment

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Authors: Mariam Aref Mahmoud

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After centuries of historical development, Egypt is no stranger to national identity frustrations. What may or may not be counted as this “national identity” becomes a source of contention. Today, after decades of neoliberal reform, Cairo has become the center of Egypt’s cultural debacle. At its heart, the Egyptian capital serves as Egypt’s extension into global capitalism, its flailing hope to become part of the modernized, cosmopolitan world. Yet, to converge into this image of cosmopolitanism, Cairo must silence the perceived un-modernized sounds, cultures, and spaces that arise from within its alleyways. Currently, the agitation surrounding shaabi music, particularly, that of mahraganat, places these contentions to the center of the modernization debates. This paper will discuss the process through which the conversations between modernization, space, and culture have taken place through a historical analysis of national identity formation under Egypt’s neoliberal regimes. Through this, the paper concludes that music becomes a spatial force through which public space, identity, and globalization must be contested. From these findings researchers can then analyze Cairo through not only its physical landscapes, but also its metaphysical features – such as the soundscape.

Keywords: music, space, globalization, Cairo

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Authors: Stacy Jarvis

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A silent culmination is a musical technique that creates or increases tension in a piece of music. It is a type of cadence in which the music gradually builds to a climax but suddenly stops without any resolution. This technique can create suspense and anticipation in the listener as they wait to find out what will happen next. It can also draw attention to a particular element of the music, such as a particular instrument or vocal line. Silent culminations can evoke a sense of mystery or ambiguity by not resolving the tension created. This technique has been used by composers of all musical genres, from classical to jazz, as well as in film scores. Silent culminations can also make a piece of music more dynamic and exciting. Verdi’s Aida is a classic example of the use of silent culminations to create tension and suspense. Throughout the opera, Verdi uses a technique of gradually building to a climax, only to abruptly stop without any resolution. This technique brings out the story's drama and intensity and creates anticipation for the climactic moments. For example, at the end of the second act, Verdi reaches a crescendo of tension as Aida and Radamès swear their undying love for one another, only to stop with a moment of silence. This technique also helps to draw attention to the important moments in the story, such as the duets between Aida and Radamès. By stopping the music just before it resolves, Verdi can create an atmosphere of anticipation and suspense that carries through to the opera's end. Silent culminations are used greatly in Aida and are integral to Verdi’s dramatic style. In his symphonic poem Mazeppa, Tchaikovsky uses silent culminations to emphasize the piece's drama and powerful emotions. The piece begins with a gentle introduction but quickly builds to a powerful climax. Throughout the piece, Tchaikovsky uses silent culminations to create tension and suspense, drawing the listener in and heightening the intensity of the music 2. The most dramatic moment of the piece comes when the music builds to a frantic climax and then suddenly cuts out, leaving the listener hanging in anticipation of what will happen next. This technique creates an intense atmosphere and leaves the listener eager to hear what comes next. In addition, the use of silent culminations helps to emphasize the strong emotions of the piece, such as fear, horror, and despair. By not resolving the tension with a resolution, the listener is left with a feeling of uneasiness and uncertainty that helps to convey the story of Mazeppa’s tragic fate.

Keywords: Verdi, Tchaikovsky, opera, culmination

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Authors: Henda Gnakate Biba, Ndassa Mouafon Issa

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Dictionaries modeled on the Western model [tonic accent languages] are not suitable and do not account for tonal languages phonologically, which is why the [prosodic and phonological] ethnographic dictionary was designed. It is a glossary that expresses the tones and the rhythm of words. It recreates exactly the speaking or singing of a tonal language, and allows the non-speaker of this language to pronounce the words as if they were a native. It is a dictionary adapted to tonal languages. It was built from ethnomusicological theorems and phonological processes, according to Jean. J. Rousseau 1776 hypothesis /To say and to sing were once the same thing/. Each word in the French dictionary finds its corresponding language, ekaη. And each word ekaη is written on a musical staff. This ethnographic dictionary is also an inventive, original and innovative research thesis, but it is also 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 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, language, entenglement, science, research

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Authors: Olga Lasaga, Carmen Parra

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Within the EU 'New Skills for New Jobs' initiative, the art and music sector is considered one of the most vulnerable. Its graduates are faced with the threat of the dole or of not finding work in the sector in which they trained. In this regard, an increasing number of students are graduating every year from European Conservatories and Fine Arts Centres, while the number of job opportunities in this sector has stagnated or decreased. Moreover, the traditional teaching of these institutes does not favour the acquisition of basic skills, such as team building, entrepreneurship, marketing, website design and the design of events, which are among the most important facets of project management and are precisely those aspects that are often most related to the improvement of employability in the art world. To remedy this situation, the results of the European Erasmus+ OMEGA project (Opening More Employment Gates for Art and Music Students) are presented. The OMEGA project aims to increase the employability of art and music students by equipping them with additional skills needed for the search for work. As a result of this project, a manual has been created, a pilot course has been designed and taught, and a comparative study has been conducted on the state of play of the participating countries.

Keywords: artists, employability, entrepreneurship, musicians, skills

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Authors: Maciej Zaręba, Sławomir Lasota

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The monitoring of manufacturing processes is an important issue in nowadays ERP systems. The identification and analysis of appropriate data for the units that take part in the production process are ones of the most crucial problems. In this paper, the authors introduce a new approach towards modelling the relation between production units, signals, and factors possible to obtain from the production system. The main idea for the system is based on the ontology of production units.

Keywords: manufacturing operation management, OWL, ontology implementation, ontology modeling

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Authors: Rika Uchida

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In teaching sophomore level aural skills, I have dealt with students with absolute pitch do poorly in my courses, particularly in harmonic dictation. They can identify triads; however, identifying quality of seventh chords or chromatic chords poses serious challenges. Most often, they need to spell all the pitches before identifying the chord qualities and Roman Numerals. Growing up in a country where acquiring absolute pitch is considered essential, I started my early music training with fixed do system at age three and learned all my music with solfege. When I was assigned as a TA in aural skills courses at graduate school in US, I had to learn relative pitch quickly. My survival method was listening to music with absolute pitch first, then quickly "translate" to relative pitch. In teaching my courses, I have been using chord progressions (5-8 chords total), in which students are asked to sing chord arpeggiation with movable do solfege. I use same progressions for harmonic dictation; I hoped that students learn to incorporate singing and listening skills by overlapping same materials. This method has proven to be successful for most students; in particular, it has helped students with absolute pitch to hear chord quality and function. Although original progressions are written in C as a tonic, they can identify chords in harmonic dictation in other keys as well. In short, I believe singing chord progression with movable do arpeggiation helps students with absolute pitch to improve hearing function and quality of chords in harmonic dictation.

Keywords: aural skills pedagogy, music theory, absolute pitch, harmonic dictation

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Authors: Jason Terry

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Beginning in the mid-nineteenth century, hymns in the Anglo-American tradition often ended with the congregation singing ‘amen,’ most commonly set to a plagal cadence. While the popularity of this tradition is well-known still today, this research presents the origins of this custom. In 1861, Hymns Ancient & Modern deepened this convention by concluding each of its hymns with a published plagal-amen cadence. Subsequently, hymnals from a variety of denominations throughout Europe and the United States heavily adopted this practice. By the middle of the twentieth century the number of participants singing this cadence had suspiciously declined; however, it was not until the 1990s that the plagal-amen cadence all but disappeared from hymnals. Today, it is rare for songs to conclude with the plagal-amen cadence, although instrumentalists have continued to regularly play a plagal cadence underneath the singers’ sustained finalis. After examining a variety of music theory treatises, eighteenth-century newspaper articles, manuscripts & hymnals from the last five centuries, and conducting interviews with a number of scholars around the world, this study presents the context of the plagal-amen cadence through its history. The association of ‘amen’ and the plagal cadence was already being discussed during the late eighteenth century, and the plagal-amen cadence only grew in attractiveness from that time forward, most notably in the nineteenth and twentieth centuries. Throughout this research, the music of Thomas Tallis, primarily through his Preces and Responses, is reasonably shown to be the basis for the high status of the plagal-amen cadence in nineteenth- and twentieth-century society. Tallis’s immediate influence was felt among his contemporary English composers as well as posterity, all of whom were well-aware of his compositional styles and techniques. More importantly, however, was the revival of his music in nineteenth-century England, which had a greater impact on the plagal-amen tradition. With his historical title as the father of English cathedral music, Tallis was favored by the supporters of the Oxford Movement. Thus, with society’s view of Tallis, the simple IV–I cadence he chose to pair with ‘amen’ attained a much greater worth in the history of Western music. A musical device such as the once-revered plagal-amen cadence deserves to be studied and understood in a more factual light than has thus far been available to contemporary scholars.

Keywords: amen cadence, Plagal-amen cadence, singing hymns with amen, Thomas Tallis

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Authors: Sirajo Muhammad Sokoto

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The Commander of the Faithful, Muhammad Bello, is considered one of the most distinguished scholars and poetic geniuses who is famous for reciting poetry in the classical vertical style. He is also represented by pre-Islamic poets such as Imru’ al-Qays and Alqamah and among the Islamists such as Hassan bin Thabit, Amr bin Abi Rabi’ah, and others. The poet drew from the seas of the Arabic language and its styles at the hands of His father, Sheikh Othman Bin Fodio, and his uncle, Sheikh Abdullah Bin Fodio, are both things that made Muhammad Bello conversant with the Arabic language until he was able to write poetry in a beautiful format and good style. The Commander of the Faithful, Muhammad Bello, did not deviate from what the Arabs know of poetic elements, such as taking into account its meanings and music; Muhammadu Bello has used every Bahr of prosody and its technicals in many of his poems. This article prepares the reader for the efforts made by the poet Muhammad Bello in composing poems on poetic seas, taking into account musical tones for different purposes according to his desire. The article will also discuss the poet’s talent, skill, and eloquence.

Keywords: music, Muhammad Bello, poetry, performances

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Authors: Sunidhi Sood, Drashti Narendrakumar Shah, Aakarsh Sharma, Nirali Harsh Panchal, Maria Karizhenskaia

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Cancer is a global health concern, causing a significant number of deaths, with chemotherapy being a standard treatment method. However, chemotherapy often induces side effects that profoundly impact the physical and emotional well-being of patients, lowering their overall quality of life (QoL). This research aims to investigate the potential of music and art therapy as holistic adjunctive therapy for cancer patients undergoing chemotherapy, offering non-pharmacological support. This is achieved through a comprehensive review of existing literature with a focus on the following themes, including stress and anxiety alleviation, emotional expression and coping skill development, transformative changes, and pain management with mood upliftment. A systematic search was conducted using Medline, Google Scholar, and St. Lawrence College Library, considering original, peer-reviewed research papers published from 2014 to 2023. The review solely incorporated studies focusing on the impact of music and art therapy on the health and overall well-being of cancer patients undergoing chemotherapy in North America. The findings from 16 studies involving pediatric oncology patients, females affected by breast cancer, and general oncology patients show that music and art therapies significantly reduce anxiety (standardized mean difference: -1.10) and improve perceived stress (median change: -4.0) and overall quality of life in cancer patients undergoing chemotherapy. Furthermore, music therapy has demonstrated the potential to decrease anxiety, depression, and pain during infusion treatments (average changes in resilience scale: 3.4 and 4.83 for instrumental and vocal music therapy, respectively). This data calls for consideration of the integration of music and art therapy into supportive care programs for cancer patients undergoing chemotherapy. Moreover, it provides guidance to healthcare professionals and policymakers, facilitating the development of patient-centered strategies for cancer care in Canada. Further research is needed in collaboration with qualified therapists to examine its applicability and explore and evaluate patients' perceptions and expectations in order to optimize the therapeutic benefits and overall patient experience. In conclusion, integrating music and art therapy in cancer care promises to substantially enhance the well-being and psychosocial state of patients undergoing chemotherapy. However, due to the small population size considered in existing studies, further research is needed to bridge the knowledge gap and ensure a comprehensive, patient-centered approach, ultimately enhancing the quality of life (QoL) for individuals facing the challenges of cancer treatment.

Keywords: anxiety, cancer, chemotherapy, depression, music and art therapy, pain management, quality of life

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Authors: Ola Haj Saleh

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This study of a contemporary building attempts to identify how a building can reflect its presence within its community. The example of the pavilion is discussed here with references to adaptability and flexibility theories. The analytical methodology of the Sun Valley Pavilion discovers to what extent a public space can be flexible and adaptable to several conditions. Furthermore, redefine an existing public building in an urban landscape context, becomes more than an important place for its community as a music pavilion for the arts, it is even for the interactivity wedding parties. Thus, the Sun Valley Pavilion can have an obvious role in a community gathering place in a result that flexibility and adaptability are more economical in the long term.

Keywords: adaptability, flexibility, pavilion, tensile

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Authors: Kok Meng Ng, Sulung Veronica

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Electronic Dance Music (EDM), a musical event that so sought-after amongst the youth, is getting prevailed around the world. The emergence of this à la mode event has magnetized lots of attentions from the media as well as the public due to its high probabilities in creating social problems and menacing social harmony of one destination, for instance, two death cases occurred during the EDM events in Malaysia caused a feeling of consternation of the society. The arguments over the impacts of such events towards the society are endless. This paper focuses on the study of the impacts of EDM towards social harmony in Klang Valley area, Malaysia by scrutinizing the contradiction of statements from several experts and the local communities. This study sampled 15-20 people that represent different social background with face-to-face and online interview through snowball sampling method. This study helps to understand the social context as a whole based on the impacts of EDM events that take place in Malaysia. It also provides valuable information to EDMs’ organizer as well as local authorities for a proper event management to minimize EDM impacts towards society as part of the sustainable growth of the event industry.

Keywords: electronic dance music, social harmony, impacts, Klang Valley

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Authors: Vineet Gairola

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In many cultures, ethnographers have tried to set up a tight link between music and possession. However, they rarely informed us about the psychology of interactions between music and the possessed. Ancient myths and the archetypal find expression through the rituals practiced in Uttarakhand. In Uttarakhand (a part of the Central Himalayan region), an intriguing archetypal healing mechanism takes place. Some people get 'possessed' by a deity and shower blessings onto people gathered for a puja in a temple, where invocation of deity takes place through two archetypal drumming instruments played together named dhol-damaun. There is devi-doli (palanquin of the goddess) worship, which is carried on the shoulders of two people and is said to be tilting and shaking on its own. Archetypal in the modern mind survives effortlessly. The 'oceanic' of religious feelings are explored through an oral text of Dholsagar. The method of ethnography along with case-studies has been used. A substantial part of fieldwork was carried out in Rudraprayag, Uttarakhand. The research suggests that the collective unconscious is also sonic in nature, which is characterized by sounds and rhythms—not only symbols and images, as Dr. Jung suggested.

Keywords: archetypal, music, myth, mysticism, possession, sonic collective unconscious

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Authors: F. Keller, G. Reinhart

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The efficient and economic allocation of resources is one main goal in the field of production planning and control. Nowadays, a new variable gains in importance throughout the planning process: Energy. Energy-efficiency has already been widely discussed in literature, but with a strong focus on reducing the overall amount of energy used in production. This paper provides a brief systematic approach, how energy-supply-orientation can be used for an energy-cost-efficient production planning and thus combining the idea of energy-efficiency and energy-flexibility.

Keywords: production planning, production control, energy-efficiency, energy-flexibility, energy-supply

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Authors: Wannee Sutthachaidee

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The study of the production process of coconut-shell product in Amphawa, Samutsongkram Province is objected to study the pattern of the process of coconut-shell product by focusing in the 3 main processes which are inbound logistics process, production process and outbound process. The result of the research: There were 4 main results from the study. Firstly, most of the manufacturer of coconut-shell product is usually owned by a single owner and the quantity of the finished product is quite low and the main labor group is local people. Secondly, the production process can be divided into 4 stages which are pre-production process, production process, packaging process and distribution process. Thirdly, each 3 of the logistics process of coconut shell will find process which may cause the problem to the business but the process which finds the most problem is the production process because the production process needs the skilled labor and the quantity of the labor does not match with the demand from the customers. Lastly, the factors which affect the production process of the coconut shell can be founded in almost every process of the process such as production design, packaging design, sourcing supply and distribution management.

Keywords: production process, coconut-shell product, Amphawa District, inbound logistics process

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Authors: Konja Knüppel, Gerrit Meyer, Peter Nyhuis

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The increasing interconnectedness and complexity of production processes raise the susceptibility of production systems to failure. Therefore, the ability to respond quickly to failures is increasingly becoming a competitive factor. The research project "Sustainable failure management in manufacturing SMEs" is developing a methodology to identify failures in the production and select preventive and reactive measures in order to correct failures and to establish sustainable failure management systems.

Keywords: failure categorization, failure management, logistic performance, production optimization

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Authors: Marilyn Maksoud

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This article discusses the heritage of the Orthodox Church, additionally it describes the origins, composition, and characteristics of the Orthodox Christian cultural identity in Syria and the liturgical traditions of the Church in the literature. Also, the eight tunes and their original use, the historical and anthropological importance of the most important Orthodox churches in Syria, were discussed. Finally, the role and works of the composer Nuri Iskandar in reviving Christian music were mentioned. "Cultural dialogue" methodology based on the recognition of equal cultures, practical and bibliographic sources of books and articles in many languages German, French, Arabic, and English, in addition to my practical experience in chanting the Syriac Aramaic language in some churches in Syria and Russia. This study concluded that the roots of the characteristics of Orthodox Christian culture in Syria go back to the original eight Syriac melodies. Additionally, The originality of Major and Minor scales were tracked as an extension of Syriac Christian melodies originated thousands of years ago in Syrian land.

Keywords: church culture in Syria, Syriac orthodox music, Syriac orthodox church, Aramaic semitic language, Syriac, Syrian church melodies

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Authors: Khrystyna Zai

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This research delves into the profound impact of Ukrainian musical traditions on the life and works of the renowned composer Sergei Prokofiev. Sergei Prokofiev's formative years in Ukraine, particularly in Sontsivka(Eastern Ukraine), allowed him to immerse himself in the local music. He encountered Ukrainian folk songs and dances, which left an indelible mark on his musical sensibilities. With a focus on the early 20th century, a period of significant cultural transformation in both Ukraine and Europe, this study examines how Prokofiev's exposure to Ukrainian folk music, its melodic motifs, and rhythmic patterns influenced his compositions. Prokofiev’s works showcase his deliberate efforts to fuse Ukrainian elements with his distinctive modernist style. This study analyzes Prokofiev's engagement with Ukrainian themes in his music, such as the "Semen Kotko”, “The Love of Three Oranges”, “On the Dnieper”, “Scythian Suite”, “Sinfonia Concertante" for cello and orchestra, "Sonata No. 9,", “Partisans in the steppes of Ukraine” (where Prokofiev uses texts in Ukrainian). The scientific work mentions his interactions and collaborations with Ukrainian musicians and cultural figures during Prokofiev’s career. Notably, his association with Ukrainian pianist Sviatoslav Richter and conductor Kirill Karabits led to interpretations of his compositions with a Ukrainian perspective. This research illuminates the nuances of cross-cultural influences in Prokofiev's oeuvre, contributing to a deeper understanding of the interplay between national identities and artistic expression during a pivotal period in history, based on the fact that the composer himself considered Ukraine to be his homeland, calling himself “steppe boy”.

Keywords: florida atlantic university, ukrainian music, ukrainian composer, sergei prokofiev

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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: Zouhir Gabsi

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The Arab Spring has had noticeable effects on Tunisia in socio-economic, political, and cultural terms. Few have predicted that the music of hip-hop and rap could engage with the socio-political situation in Tunisia, especially after the downfall of Ben Ali’s regime. Having survived as underground music since the year 2000, the genre of hip-hop and rap remains an aberration from the folkloric tradition. By adhering to the socio-economic reality of the Tunisian street, rappers attempt to claim authenticity mainly in both thematic and language uses, and by usurping the power of ‘space’ from the regime’s control. With the songs’ fast-paced rhythms, catchy phrases, puns, vulgarisms, and linguistic innovations using metaphors, hip-hop, and rap have struck a chord with Tunisia’s youth. Tunisia’s new social reality has allowed Tunisian rappers to express dissent and voice people’s despair over the socio-economic and political situation. This paper argues that rap artists use language as a vehicle to claim the authenticity of their message. It also explores how the performative nature of the language of hip-hop and rap interacts with the Tunisian culture and argues the power of music in the context of political and socio-economic grievances in post-Arab Spring Tunisia.

Keywords: Arab Spring, hip-hop, eevolution, Tunisia, Tunisian Arabic

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Authors: Hirokatsu Kawashima

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In an attempt to elucidate relationships between listening to music and pronunciation learning, a classroom-based investigation was conducted with Japanese EFL learners (n=45). The subjects were instructed to listen to English songs they liked on YouTube, especially paying attention to phonologically similar vowel and consonant minimal pair words (e.g., live and leave). This kind of activity, which included taking notes, was regularly carried out in the classroom, and the same kind of task was given to the subjects as homework in order to reinforce the in-class activity. The duration of these activities was eight weeks, after which the program was evaluated on a 9-point scale (1: the lowest and 9: the highest) by learners’ self-evaluation. The main questions for this evaluation included 1) how good the learners had been at pronouncing vowel and consonant minimal pair words originally, 2) how often they had listened to songs good for pronouncing vowel and consonant minimal pair words, 3) how frequently they had moved their mouths to vowel and consonant minimal pair words of English songs, and 4) how much they thought the program would support and enhance their pronunciation learning of phonologically similar vowel and consonant minimal pair words. It has been found, for example, A) that the evaluation of this program is by no means low (Mean: 6.51 and SD: 1.23), suggesting that listening to music may support and enhance pronunciation learning, and B) that listening to consonant minimal pair words in English songs and moving the mouth to them are more related to the program’s evaluation (r =.69, p=.00 and r =.55, p=.00, respectively) than listening to vowel minimal pair words in English songs and moving the mouth to them (r =.45, p=.00 and r =.39, p=.01, respectively).

Keywords: minimal pair, music, pronunciation, song

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