Search results for: music analysis

Authors: Jutharat Nawarungreung

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As an international language, English is used as a medium in formal and informal settings including all kinds of entertainment. As it were, the use of English in such an arena is of no less importance and interest, and indeed it becomes a valuable tool for EFL learners to learn and improve their language. In addition, it is a social perspective in the way that English is incorporated in other nationalities’ music, as well as the attitudes of listeners toward it. This research principally aimed to find out the level of comprehensibility of English inserted in Thai pop music. There were three groups of participants, namely Thais, non-native speakers who are non-Thai and native speakers, 35 each group. The research tools comprised song lyrics, interviews, questionnaires, and video recorder. The participants listened to Thai songs and wrote down the English words and their meanings they heard. They were video-recorded when listening to the songs, and then asked on particular actions and facial expressions. Afterwards, they were interviewed to account for their attitudes toward the incorporation of English into Thai songs. Finally, the participants completed a questionnaire. Data was analysed by the way of comparison of all the participants’ pronunciation. In doing so, the number of correct and incorrect answers was revealed. The study has shown that those who attained the highest level of understanding the English words in Thai music were Thais, native speakers, and non-native speakers who are non-Thai respectively.

Keywords: English throughout the world, varieties of English, English in Thai songs, intelligibility, attitudes

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Authors: Peter S. Kim

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

Keywords: music perception, psychology, cognition, musical preference

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Authors: T. J. Laws-Nicola

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Henry Russell was best known as a composer of more than 300 songs. Many of his compositions were popular for both their sentimental texts, as in ‘The Old Armchair,’ and those of a more political nature, such as ‘Woodsman, Spare That Tree!’ Indeed, Russell had written such songs of advocacy as those associated with abolitionism (‘The Slave Ship’) and environmentalism (‘Woodsman, Spare that Tree!’). ‘The Maniac’ is his only composition addressing the issue of institutionalization. The text is borrowed and adapted from the monodrama The Captive by M.G. ‘Monk’ Lewis. Through an analysis of form, harmony, melody, text, and thematic development and interactions between text and music we can approach a clearer understanding of ‘The Maniac’ and how the text and music interact. Select periodicals, such as The London Times, provide contemporary critical review for ‘The Maniac.’ Additional nineteenth century songs whose texts focus on madness and/or institutionalization will assist in building a stylistic and cultural context for ‘The Maniac.’ Through comparative analyses of ‘The Maniac’ with a body of songs that focus on similar topics, we can approach a clear understanding of the song as a vehicle for deinstitutionalization.

Keywords: 19th century song, institutionalization, M. G. Lewis, Henry Russell

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Authors: Monika Benedek

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This paper intends to present a pilot study of blended ear-training course at a Finnish university. The course ran for ten weeks and included both traditional (offline) group lessons for 90 minutes each week and an online learning platform. Twelve students majored in musicology and music education participated in the course. The aims of pilot research were to develop a new blended ear-training course at university level, to determine the ideal amount of workload in each part of the blended instruction (offline and online) and to develop the course material. The course material was selected from the Classical period in order to develop students’ aural skills together with their stylistic knowledge. Students were asked to provide written feedback of the course content and learning approaches of face-to-face group lessons and online learning platform each week during the course. Therefore, the teaching material is continuously planned for each week. This qualitative data collection and weekly analysis of data are on progress. However, based on the teacher-researcher’s experiences and the students’ feedback already collected, it could be seen that the blended instruction would be an ideal teaching strategy for ear-trainging at the music programmes of universities to develop students’ aural skills and stylistic knowledge. It is also presumed that such blended instruction with less workload would already improve university students’ aural skills and related musicianship skills. The preliminary findings of research also indicated that students generally found those ear-training tasks the most useful to learn online that combined listening, singing, singing and playing an instrument. This paper intends to summarise the final results of the pilot study.

Keywords: blended-learning, ear-training, higher music education, online-learning, pilot study

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Authors: Cahlia A. Plett

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Ventura Profana (Unholy Venture) is an Afro-Indigenous Brazilian performance artist, missionary, and advocate for trans or “travestí” issues in Brazil. In this paper, author will discuss how Profana acts as a pastor in aims of constructing possibilities of escape through scripture, congregation and performance art. In confronting religious “recolonization”, which refers to modern Judeo-Christian religions and their re-colonizing properties within Latin American countries, author argue that Profana’s research and art offer an opportunity to both use and decolonize religious-colonial projects through expressions of the self and spirituality based in queer Black, Brown and Indigenous futurities.

Keywords: Religious Studies, Music, Queer studies, Decolonial

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Authors: Cherry Yieng Siang Ling, Joong Hee Lee, Myung Hwan Yun

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The quality of a product to be usable has become the basic requirement in consumer’s perspective while failing the requirement ends up the customer from not using the product. Identifying usability issues from analyzing quantitative and qualitative data collected from usability testing and evaluation activities aids in the process of product design, yet the lack of studies and researches regarding analysis methodologies in qualitative text data of usability field inhibits the potential of these data for more useful applications. While the possibility of analyzing qualitative text data found with the rapid development of data analysis studies such as natural language processing field in understanding human language in computer, and machine learning field in providing predictive model and clustering tool. Therefore, this research aims to study the application capability of text processing algorithm in analysis of qualitative text data collected from usability activities. This research utilized datasets collected from LG neckband headset usability experiment in which the datasets consist of headset survey text data, subject’s data and product physical data. In the analysis procedure, which integrated with the text-processing algorithm, the process includes training of comments onto vector space, labeling them with the subject and product physical feature data, and clustering to validate the result of comment vector clustering. The result shows 'volume and music control button' as the usability feature that matches best with the cluster of comment vectors where centroid comments of a cluster emphasized more on button positions, while centroid comments of the other cluster emphasized more on button interface issues. When volume and music control buttons are designed separately, the participant experienced less confusion, and thus, the comments mentioned only about the buttons' positions. While in the situation where the volume and music control buttons are designed as a single button, the participants experienced interface issues regarding the buttons such as operating methods of functions and confusion of functions' buttons. The relevance of the cluster centroid comments with the extracted feature explained the capability of text processing algorithms in analyzing qualitative text data from usability testing and evaluations.

Keywords: usability, qualitative data, text-processing algorithm, natural language processing

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Authors: Vusala Amirbayova

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The science of modern musicology, based on the achievements of a number of neighboring science fields, has more deeply penetrated into the sphere of artistic content of the art of music and developed a new scientific methodology, methods and approaches for a comprehensive study of the problem. In this regard, a new theory developed by the famous Russian musician-scientist, professor V. Kholopova – the specific and non – specific content of music – draws the attention with its different philosophical foundation and covering historical periods of the art of composing. The scientist related her theory to the art of European composer’s creativity, and did not include musical professionalism and especially, folklore creativity existing in other continent in her circle of interest. The researcher made an effort to explain triad (the world of ideas, emotions and subjects) which is included in the general content of music in the example of composers’ works belonging to different periods and cultures. In this respect, the artistic content of works has been deeply and comprehensively analyzed new philosophical basis. The theme ‘Leyli and Majnun’ was developed by many poets as one of the ancient legends of the East, and each artist was able to give a unique artistic interpretation of the work. This literary source was successfully developed in cognominal opera of great U. Hajibeyli in Azerbaijani music and its embodiment with symphonic means required great skill and courage from Gara Garayev. Unlike opera, as there is the opportunity to show the plot of ‘Leyli and Majnun’ in the symphonic poem, the composer achieved to reflect the main purpose of its idea convincingly with pure musical means, and created a great work with tragic spirit having a great emotional impact. Though the artistic content and form of ‘Leyli and Majnun’ symphonic poem have been sufficiently analyzed by music theorists until now, in our opinion, it is for the first time that the work is considered from the point of specific music content. Therefore, we will make an effort to penetrate into a specific layer of its artistic content after firstly reviewing the poem with traditional methods in the general plan. The use of both national fret – intonations and the system of major – minor by G. Garayev is based on well-tempered root. The composer, widely using national fret – intonations and model harmonic means on this ground, achieved to express the spirit and content of the poem. It perfectly embodies the grandeur and immortality of divine love, and the struggle of powerful human personality with the forces of despotism. Gara Garayev said about this work: “My most sublime goal and desire is to explain the literary issue that love endures to all obstacles and overcomes even death”. The music of ‘Leyli and Majnun’ symphonic poem is rich with deep desires and sharp contradictions. G.Garayev reflected these wonderful ideas about the power of music in his book ‘Articles, schools and sayings’: “Music is the decoration of life and a powerful source of inspiration”.

Keywords: content, music, symphonic, theory

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Authors: Patricia P. M. C. Lourenco, Sang Yong Kim, Anaisa D. A. De Sena

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K-Pop fandom is a paradoxical dichotomy of two conceptual contexts: the Korean single fandom and the international fandom; both strongly influence K-Pop brand attitude. Collectivist, South Korea’s fans showcase their undivided support to one artist comeback towards earning a triple-crown in domestic music charts. In contrast, individualist international fans collectively ship a plethora of artists and collaborate amongst themselves to the continuous expansion of K-Pop into a mainstream cultural glocalization in international music charts. The distinct idiosyncrasies between the two groups creates a heterogeneous K-Pop brand attitude that is challenging to tackle marketing wise for lack of homogeneity in the sub-cultural K-Pop fandom.

Keywords: K-Pop fandom, single-fandom, multi-fandom, individualism, collectivism, brand attitude, sub-culture

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Authors: Sender Dovchin

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The recent bi/multilingual scholarship shows that the knowledge of ‘translingual English’ is understood in terms of transcultural flows of linguistic, semiotic and cultural resources, where these resources re-transform and are recontextualised to form new specific languages and perform new identities in diverse societal contexts. Drawing on linguistic ethnographic data from contemporary popular music artist in Mongolia, this paper addresses two main critical questions: (1) how new forms of specific languages are created when English becomes translingual English in local contexts; and (2) how new varieties of local identities are constructed and performed when English transforms into translingual English. The paper argues that popular music artists in post-socialist Mongolia should better be understood as active cultural producers, contrary to those dominant discourses which position artists in the periphery as passive recipients of popular culture. Positioned within the creative nature of the global digital resources and the increasing transcultural spread of linguistic and cultural modes and features, these young Mongolian popular music artists produce not only new forms of linguistic practices in the local contexts but also create varied new forms of identities of what it means to be a young Mongolian person in the modern society.

Keywords: multilingualism, translingualism, mongolia, english

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Authors: Ahmed Saleh Summan

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

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

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Authors: Shereen Nadira Binti Jasney, Mohd Syuhaidi Bin Abu Bakar, Hafizah Binti Rosli

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This quantitative study explored factors that motivate the public to use YouTube; and the elements of criteria, which the public are looking for to accept new talents on User-Generated Content (UGC). There are mass inputs on the net but the publics are still being very selective in accepting new talents. Thus, it is important to identify determinant factors that contribute to the acceptance of new talents on UGC. A total number of 236 respondents have participated in this study using Simple Random Sampling and they were analyzed with descriptive analysis. The findings of this paper advocate that tremendous expansion; and diversification YouTube music offers are main factors that motivated public viewers in using YouTube on accepting new talents. It is also found that by being relatable and concurrently providing interesting contents, having the artist name and song title in the YouTube talent’s title video and the number of views and likes of the video are some of the criteria that the public are looking for in accepting new talents on the UGC. This paper introduces YouTube as a mean of discovering new talents in the music industry where the public, especially the younger generations, whom are actively engaged with current digital landscape that they’ve been presently silver-plated.

Keywords: motivation, criteria, new talents, UGC, YouTube

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Authors: Danielle Kim

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This paper analyzes how conceptual metaphors in the lyrics of popular songs can be potentially detrimental by influencing the public’s perception of women. Conceptual metaphors in songs often compare women to objects (objects that are fragile and breakable or primarily of monetary value) and animals. Many common conceptual metaphors in music refer to women as less than sovereign, rational humans, implying that women should be owned, controlled, and used. These comparisons are harmful because music is so influential and has the ability to create and perpetuate stereotypes. By examining the lyrics of the popular songs: Bob Dylan’s “Just like a woman,” Robin Thicke’s “Blurred Lines” (written by Marvin Gaye), and Chris Brown’s “Fine China,” we can discern subtle ways in which misogynistic language has become so imbedded into popular culture.

Keywords: conceptual metaphors, women studies, feminism, lyrics

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Authors: Ajmal Hussain

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In Indian music parlance, Rasa denotes a distinct aesthetic experience that builds up in the mind of the listeners while listening to a piece of Indian classical music. The distinction of the experience is rooted in the concept that it gives rise to an enhanced awareness about the Self or God and creates a mental state detached from mundane issues of everyday life. The theory of Rasa was initially proposed in the context of theatre but became a part of Indian musicological discourse roughly two thousand years ago, however, to this day, it remains shrouded in mystery due to its religious associations and connotations. This paper attempts to demystify the theory of Rasa in the light of available scientific knowledge fund particularly in Brain and Mind sciences. The paper initially describes the religious context of the theory of Rasa and then discusses its classical formulations by Bharata and Abhinavagupta including the steps and stages laid down by the latter to explain the creation of musical experience. The classical formulations are then interpreted with reference to the scientific knowledge fund about the human mind and mechanics of perception. The study uses the model of human mind as proposed by Portuguese-American neuroscientist Antonio Damasio in his theory ‘A Nesting Principle’. On the basis of the findings by Damasio, the paper interprets the experience of Rasa from a scientific perspective and clarifies the sequence of steps and stages involved in the making of musical experience. The study concludes that although the classical formulations of Rasa identify key aspects of musical experience, the association of Rasa with religion is misleading. The association with religion does not depend upon musical stimulus but the intellectual orientation of the listener. It further establishes that the function of Rasa is more profound as, from an evolutionary perspective, it can be seen as a catalyst for higher consciousness.

Keywords: aesthetic, consciousness, music, Rasa

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Authors: Maria Armalita Tumimbang

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Jathilan or Kuda Lumping is a dance-drama with warfare as the main theme and the dancers mimicking mighty horsemen armed with sword in the middle of the battle field. However, to most people this dance-drama is more identical with magical nuanced dance and trance, beside the attractive and even dangerous acts of the dancers, such as eating shard or broken glass in a state of trance. Several music players play the accompaniment made up of incomplete gamelan set that include saron, kendang, gong, and kempul. In general, it remains unchanged with regards to the seemingly monotonous beat and occasional “bumps” that may lead the dancers into a trance state. The dances performed also tend to be of repetitive patterns. The development of Jathilan and other traditional art performance in this globalization and industrialization era can be divided into two: firstly, they are subjected to the power of industrialization, which means their performances are to be recorded for commercial purpose, and secondly, they are to be presented in live performances. To some people, live performances are preferable, and for some reasons, they represent a form of cultural résistance to globalization and industrialization. The present study is qualitative in nature. It aims to describe the music and performance of Jathilan in the era of globalization in Indonesia. The subject of this study is a traditional art group, Jathilan Kuda Pranesa of Godean, Yogyakarta. Data collection was conducted by interviews with the leader of the group, the dancers and music players, as well as the audience. The wave of globalization has brought strong capitalistic industrialization that render traditional arts simply into industrial commodities tailored to the need of the era. This very fact has made the repositioning of traditional art performance of Jathilan a necessity. And by repositioning we mean that Jathilans should be put back to their traditional forms and functions as they used to be.

Keywords: Jathilan, globalization, industrialization, music, performance

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Authors: Olga Guseynova

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Being an individual activity, the memorizing process is affected to a greater degree by the individual variables; therefore, one of the decisive factors influencing the memorization is students’ individual characteristics. Based on an extensive literature study in the domains of piano education, psychology, and neuroscience, this comprehensive research was designed in order to develop three memorizing strategies that are reflective of individual students’ learning modalities (visual, kinesthetic and auditory) applied to the piano education. The design of the study required an interdisciplinary approach which incorporated the outcome of neuropsychological and pedagogic experiments. The objectives were to determine the interaction between the process of perception and the process of memorizing music; to systematize the methods of memorizing piano sheet music in accordance with the specifics of perception types; to develop Piano Memorization Inventory (PMI) and the Three Memorizing Strategies (TMS). The following research methods were applied: a method of interdisciplinary analysis and synthesis, a method of non-participant observation. As a result of literature analysis, the following conclusions were made: the majority of piano teachers and piano students participated in the surveys, had not used and usually had not known any memorizing strategy regarding learning styles. As a result, they had used drilling as the main strategy of memorizing. The Piano Memorization Inventory and Three Memorizing Strategies developed by the author of the research were based on the observation and findings of the previous researches and considered the experience of pedagogical and neuropsychological studies.

Keywords: interdisciplinary approach, memorizing strategies, perceptual learning styles, piano memorization inventory

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Authors: David Chung

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The development of seventeenth-century French harpsichord music is enigmatic in several respects. Although little is known about the formation of this style before 1650 (we have names of composers, but no surviving music), the style has attained a high degree of refinement and sophistication in the music of the earliest known masters (e.g. Chambonnières, Louis Couperin and D’Anglebert). In fact, how the seventeenth-century musicians acquired the skills of their art remains largely steeped in mystery, as the earliest major treatise on French keyboard pedagogy was not published until 1702 by Saint Lambert. This study fills this lacuna by surveying some twenty recently-rediscovered manuscripts, which offer ample materials for revisiting key issues pertaining to seventeenth-century harpsichord pedagogy. By analyzing the musical contents, the verbal information and explicit notation (such as written-out ornaments and rhythmic effects), this study provides a rich picture of the process of learning at the time, with engaging details of performance nuances often lacking in tutors and treatises. Of even greater significance, that creative skills (such as continuo and ornamentation) were taught alongside fundamental knowledge (solfèges, note values, etc.) at the earliest stage of learning offers fresh challenge for modern pedagogues to rethink how harpsichord pedagogy can be revamped to cater for our own pedagogical and aesthetic needs.

Keywords: French, harpsichord, pedagogy, seventeenth century

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Authors: Lana Burmistrova

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Introduction: The influence of visual impairments on several cognitive processes used in the music learning process is an increasingly important area in special education and cognitive musicology. Many children have several visual impairments due to the refractive errors and irreversible inhibitors. However, based on the compensatory neuroplasticity and functional reorganization, congenitally blind (CB) and early blind (EB) individuals use several areas of the occipital lobe to perceive and process auditory and tactile information. CB individuals have greater memory capacity, memory reliability, and less false memory mechanisms are used while executing several tasks, they have better working memory (WM) and short-term memory (STM). Blind individuals use several strategies while executing tactile and working memory n-back tasks: verbalization strategy (mental recall), tactile strategy (tactile recall) and combined strategies. Methods and design: The aim of the pilot study was to substantiate similar tendencies while executing attention, memory and combined auditory tasks in blind and sighted individuals constructed for this study, and to investigate attention, memory and combined mechanisms used in the music learning process. For this study eight (n=8) blind and eight (n=8) sighted individuals aged 13-20 were chosen. All respondents had more than five years music performance and music learning experience. In the attention task, all respondents had to identify pitch changes in tonal and randomized melodic pairs. The memory task was based on the mismatch negativity (MMN) proportion theory: 80 percent standard (not changed) and 20 percent deviant (changed) stimuli (sequences). Every sequence was named (na-na, ra-ra, za-za) and several items (pencil, spoon, tealight) were assigned for each sequence. Respondents had to recall the sequences, to associate them with the item and to detect possible changes. While executing the combined task, all respondents had to focus attention on the pitch changes and had to detect and describe these during the recall. Results and conclusion: The results support specific features in CB and EB, and similarities between late blind (LB) and sighted individuals. While executing attention and memory tasks, it was possible to observe the tendency in CB and EB by using more precise execution tactics and usage of more advanced periodic memory, while focusing on auditory and tactile stimuli. While executing memory and combined tasks, CB and EB individuals used passive working memory to recall standard sequences, active working memory to recall deviant sequences and combined strategies. Based on the observation results, assessment of blind respondents and recording specifics, following attention and memory correlations were identified: reflective attention and STM, reflective attention and periodic memory, auditory attention and WM, tactile attention and WM, auditory tactile attention and STM. The results and the summary of findings highlight the attention and memory features used in the music learning process in the context of blindness, and the tendency of the several attention and memory types correlated based on the task, strategy and individual features.

Keywords: attention, blindness, memory, music learning, strategy

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Authors: Yang Yang, Lu Xin

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The study of extant musical sites can provide a side-by-side picture of historical ethnomusicological information. In their data collection on Chinese opera houses, researchers found that one Ming Dynasty opera house reached a width of nearly 18 meters, while all opera houses of the same period and after it was far from such a width, being significantly smaller than 18 meters. The historical transient fluctuations in the data dimension of width that caused Chinese theatres to fluctuate in the absence of construction scale constraints have piqued the interest of researchers as to why there is data variation in width. What factors have contributed to the lack of further expansion in the width of theatres? To address this question, this study used a comparative approach to conduct a venue experiment between this theater stage and another theater stage for non-heritage opera performances, collecting the subjective perceptions of performers and audiences at different theater stages, as well as combining BK Connect platform software to measure data such as echo and delay. From the subjective and objective results, it is inferred that the Chinese ancients discovered and understood the acoustical phenomenon of the Haas effect by exploring the effect of stage width on musical performance and appreciation of listening states during the Ming Dynasty and utilized this discovery to serve music in subsequent stage construction. This discovery marked a node of evolution in Chinese architectural acoustics technology driven by musical demands. It is also instructive to note that, in contrast to many of the world's "unsuccessful civilizations," China can use a combination of heritage and intangible cultural research to chart a clear, demand-driven course for the evolution of human music technology, and that the findings of such research will complete the course of human exploration of music acoustics. The findings of such research will complete the journey of human exploration of music acoustics, and this practical experience can be applied to the exploration and understanding of other musical heritage base data.

Keywords: Haas effect, musical acoustics, history of acoustical technology, Chinese opera stage, structure

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Authors: Graham Wood

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The 20th Century saw the introduction of many new approaches to music making, including the structured and academic study of jazz improvisation. The rise of many school and tertiary jazz programs was rapid and quickly spread around the globe in a matter of decades. It could be said that the curriculum taught in these new programs was often developed in an ad-hoc manner due to the lack of written literature in this new and rapidly expanding area and the vastly different pedagogical principles when compared to classical music education that was prevalent in school and tertiary programs. There is widespread information regarding the theory and techniques used by jazz improvisers, but methods to practice these concepts in order to achieve the best outcomes for students and teachers is much harder to find. This research project explores the authors’ experiences as a studio jazz piano teacher, ensemble teacher and classroom improvisation lecturer over fifteen years and suggests an alignment with Bloom’s taxonomy of learning domains. This alignment categorizes the different tasks that need to be taught and practiced in order for the teacher and the student to devise a well balanced and effective practice routine and for the teacher to develop an effective teaching program. These techniques have been very useful to the teacher and the student to ensure that a good balance of cognitive, psychomotor and affective skills are taught to the students in a range of learning contexts.

Keywords: bloom, education, jazz, learning, music, teaching

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Authors: Victoria Legkikh

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To create a new Orthodox service of Jerusalem rite and to make it possible for a performance, one had to use several types of books. These are menaions and triodion, cleargy service book, stichirarion and typikon. These books keep a part of the information about the service, which a medieval copyist had to put together like a puzzle. But an abundance of necessary books and their variety created a lot of problems in copying services. The main problem was the difference of text in notated and not notated manuscripts (they were corrected at a different time) and lack of information in typikon, which provided only a type of hymns and their mode. After all, a copyist could have both corrected and not corrected manuscripts which also provided a different type of service. It brings us to the situation when we hardly have a couple of manuscripts containing the same service, and it is difficult to understand which changes were made voluntarily and which ones were provided by different types of available manuscripts. A recent paper proposes an analysis of every type of liturgical book and a way of using them in copying and correcting a service so we can divide voluntary changes and changes due to various types of books. The paper also proposes an index showing the “material” life of hymns in different types of manuscripts and the changes of its version and place in the same type of manuscript. This type of index can help in reconstructing the way of creation/copying service and can be useful for publication of the services providing necessary information of every hymn in every used manuscript.

Keywords: orthodox church music, creation, manuscripts, liturgical books

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Authors: Erin McKellar, Narelle Yeo

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Gender disparity can be found in the representation of the female characters in Leonard Bernstein’s musical West Side Story. As a postmodern composer, Bernstein was open about his social activism, yet did not consider his compositional portrayal of female characters as part of that activism. Using discretization as an analysis tool, this thesis explores the melodic contours of male and female songs in West Side Story to show differences in complexity between male and female characterisation. The analysis explores the intervallic relationship between the vocal line and melodic color in relation to the accompaniment harmony, taking into consideration the use of consonance and dissonance. West Side Story is commonly known for its distinct use of the tritone motif and its inherent dissonance. It is evident when reviewing the findings of this study that there is a distinct disparity between male-led and female-led music. The male-led numbers consistently adhere to a dissonant aesthetic with the tritone motif implemented in all of the extracted songs. By contrast, the female songs remain consonant with simple intervallic movements. By examining the results of this study through the lens of Equality Feminism, this thesis finds that Bernstein has simplified the characterisations of the female leads. The thesis further proposes that without cognisant consideration of the compositional portrayal of women, the musical theatre will continue to reinforce gender stereotypes, as evident through this study of Bernstein’s West Side Story.

Keywords: music theatre, gender bias, composition, Leonard Bernstein

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Authors: Christian Giddings

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Using rhetorical analysis, this paper analyzes thirteen madrigalian settings of Torquato Tasso's (1544-1595) poetry by Claudio Monteverdi (1567-1643) published between 1587 (Book One) and 1619 (Book Seven). Such analysis suggests that the composer consistently responded to the expressivity and increased formal freedom typical of Tasso's poetry by making greater use of musico-rhetorical figures, as described by the German theorist Joachim Burmeister (1564-1629) in his treatise Musica poetica (1606). The use of rhetorical analysis when examining the influence of the poet Tasso on Monteverdi can illustrate the influence of literary components on music. One cannot overestimate the importance of these texts and their influence on composers of the day. The evidence presented in this paper strongly suggests that exposure to the poems of Torquato Tasso early in his career encouraged Claudio Monteverdi to increasingly adopt a more rhetorical approach in his madrigal compositions.

Keywords: Claudio Monteverdi, musico-rhetorical analysis, renaissance, torquato tasso

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Authors: Douglas W. Scott

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The Allemande from J. S. Bach's Partita for solo flute (BWV 1013) presents many unique challenges for any flautist, especially in terms of segmentation analysis required to select breathing places in the first half. Without claiming to identify a 'correct' solution to this problem, this paper analyzes the section in terms of a set of techniques based around a statistical property commonly (if not ubiquitously) found in music, namely Zipf’s law. Specifically, the paper considers violations of this expected profile at various levels of analysis, an approach which has yielded interesting insights in previous studies. The investigation is then grounded by considering four actual solutions to the problem found in recordings made by different flautists, which opens up the possibility of expanding Zipfian analysis to include a consideration of inter-onset-intervals (IOIs). It is found that significant deviations from the expected Zipfian distributions can reveal and highlight stylistic choices made by different performers.

Keywords: inter-onset-interval, Partita for solo flute, BWV 1013, segmentation analysis, Zipf’s law

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Authors: Sofia Serra-Dawa

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Adult relationships accrue on a variety of past social experiences, intentions, and emotions that might predispose and influence the approach to and construction of subsequent relationships. The Adult Attachment Theory (AAT) proposes four types of adult attachment, where attachment is built over two dimensions of anxiety and avoidance: secure, anxious-preoccupied, dismissive-avoidant, and fearful-avoidant. The AAT has been studied in multiple settings such as personal and therapeutic relationships, educational settings, sexual orientation, health, and religion. In music scholarship, the AAT has been used to frame class learning of student singers and study the relational behavior between voice teachers and students. Building on this study, the present inquiry studies how attachment types might characterize learning relationships of music students (in the Western Conservatory tradition), and whether particular instrumental experiences might correlate to given attachment styles. Given certain behavioral cohesive features of established traditions of instrumental playing and performance modes, it is hypothesized that student musicians will display specific characteristics correlated to instrumental traditions, demonstrating clear tendency of attachment style, which in turn has implications on subsequent professional interactions. This study is informed by the methodological framework of Adult Attachment Scale-R (Collins and Read, 1990), which was particularly chosen given its non-invasive questions and classificatory validation. It is further hypothesized that the analytical comparison of musicians’ profiles has the potential to serve as the baseline for other comparative behavioral observation studies [this component is expected to be verified and completed well before the conference meeting]. This research may have implications for practitioners concerned with matching and improving musical teaching and learning relationships and in (professional and amateur) long-term musical settings.

Keywords: adult attachment, music education, musicians attachment profile, musicians relationships

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Authors: Linda Fellag, Arlene Caney

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E-learning has earned an essential place in academia because it promotes learner autonomy, student engagement, and technological aptitude, and allows for flexible learning. However, despite advantages, educators have been slower to embrace e-learning for ESL and other non-traditional students for fear that such students will not succeed without the direct faculty contact and academic support of face-to-face classrooms. This study aims to determine if a non-traditional student-friendly online course can produce student retention and performance rates that compare favorably with those of students in standard online sections of the same course aimed at traditional college-level students. One Music faculty member is currently collaborating with an English instructor to redesign an online college-level Music Appreciation course for non-traditional college students. At Community College of Philadelphia, Introduction to Music Appreciation was recently designated as one of the few college-level courses that advanced ESL, and developmental English students can take while completing their language studies. Beginning in Fall 2017, the course will be critical for international students who must maintain full-time student status under visa requirements. In its current online format, however, Music Appreciation is designed for traditional college students, and faculty who teach these sections have been reluctant to revise the course to address the needs of non-traditional students. Interestingly, presenters maintain that the online platform is the ideal place to develop language and college readiness skills in at-risk students while maintaining the course's curricular integrity. The two faculty presenters describe how curriculum rather than technology drives the redesign of the digitized music course, and self-study materials, guided assignments, and periodic assessments promote independent learning and comprehension of material. The 'scaffolded' modules allow ESL and developmental English students to build on prior knowledge, preview key vocabulary, discuss content, and complete graded tasks that demonstrate comprehension. Activities and assignments, in turn, enhance college success by allowing students to practice academic reading strategies, writing, speaking, and student-faculty and peer-peer communication and collaboration. The course components facilitate a comparison of student performance and retention in sections of the redesigned and existing online sections of Music Appreciation as well as in previous sections with at-risk students. Indirect, qualitative measures include student attitudinal surveys and evaluations. Direct, quantitative measures include withdrawal rates, tests of disciplinary knowledge, and final grades. The study will compare the outcomes of three cohorts in the two versions of the online course: ESL students, at-risk developmental students, and college-level students. These data will also be compared with retention and student outcomes data of the three cohorts in f2f Music Appreciation, which permitted non-traditional student enrollment from 1998-2005. During this eight-year period, the presenter addressed the problems of at-risk students by adding language and college success support, which resulted in strong retention and outcomes. The presenters contend that the redesigned course will produce favorable outcomes among all three cohorts because it contains components which proved successful with at-risk learners in f2f sections of the course. Results of their study will be published in 2019 after the redesigned online course has met for two semesters.

Keywords: college readiness, e-learning, music appreciation, online courses

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Authors: Galina Portnova, Kseniya Gladun

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In our EEG experiment participated 27 children with ASD with the average age of 6.13 years and the average score for CARS 32.41 and 25 healthy children (of 6.35 years). Six types of musical stimulation were presented, included Gluck, Javier-Naida, Kenny G, Chopin and other classic musical compositions. Children with autism showed orientation reaction to the music and give behavioral responses to different types of music, some of them might assess stimulation by scales. The participants were instructed to remain calm. Brain electrical activity was recorded using a 19-channel EEG recording device, 'Encephalan' (Russia, Taganrog). EEG epochs lasting 150 s were analyzed using EEGLab plugin for MatLab (Mathwork Inc.). For EEG analysis we used Fast Fourier Transform (FFT), analyzed Peak alpha frequency (PAF), correlation dimension D2 and Stability of rhythms. To express the dynamics of desynchronizing of different rhythms we've calculated the envelope of the EEG signal, using the whole frequency range and a set of small narrowband filters using Hilbert transformation. Our data showed that healthy children showed similar EEG spectral changes during musical stimulation as well as described the feelings induced by musical fragments. The exception was the ‘Chopin. Prelude’ fragment (no.6). This musical fragment induced different subjective feeling, behavioral reactions and EEG spectral changes in children with ASD and healthy children. The correlation dimension D2 was significantly lower in autists compared to healthy children during musical stimulation. Hilbert envelope frequency was reduced in all group of subjects during musical compositions 1,3,5,6 compositions compared to the background. During musical fragments 2 and 4 (terrible) lower Hilbert envelope frequency was observed only in children with ASD and correlated with the severity of the disease. Alfa peak frequency was lower compared to the background during this musical composition in healthy children and conversely higher in children with ASD.

Keywords: electroencephalogram (EEG), emotional perception, ASD, musical perception, childhood Autism rating scale (CARS)

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Authors: Nino Naneishvili

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The study of religious minorities and their musical culture has attracted scant academic attention in Georgia. Within wider Georgian society, it would seem that the focus of discourse to date has been on the traditional orthodox religion and its musical expression, with other forms of religious expression regarded as intrinsically less valuable. The goal of this article is to study Georgia's different religious and musical picture which, this time, is presented on the example of the Pentecostals. The first signs of the Pentecostal movement originated at the end of the 19th Century in the USA, and first appeared in Georgia as early as 1914. An ethnomusicological perspective allows the use of anthropological and sociological approaches. The basic methodology is an ethnographic method. This involved attending religious services, observation, in-depth interviews and musical material analysis. This analysis, based on a combined use of various theoretical and methodological approaches, reveals that Georgian Pentecostals, apart from polyphonic singing, are characterised by “ bi-musicality.“ This phenomenon together with Georgian three part polyphony combines vocalisation within “social polyphony.“ The concept of back stage and front stage is highlighted. Chanters also try to express national identity. In some cases however it has been observed that they abandon or conceal certain musical forms of expression which are considered central to Georgian identity. The famous hymn “Thou art a Vineyard” is a case in point. The reason given for this omission within the Georgian Pentecostal church is that within Pentecostal doctrine, God alone is the object of worship. Therefore there is no veneration of Saints as representatives of the Divine. In some cases informants denied the existence of this hymn, and others explain that the meaning conveyed to the Vineyard is that of Jesus Christ and not the Virgin Mary. Others stated that they loved Virgin Mary and were therefore free to sing this song outside church circles. The results of this study illustrates that one of the religious minorities in Georgia, the Pentecostals, are characterised by a deviation in musical thinking from Homo Polyphonicus. They actively change their form of musical worship to secondary ethno hearing – bi-musicality. This outcome is determined by both new religious thinking and the process of globalization. A significant principle behind this form of worship is the use of forms during worship which are acceptable and accessible to all. This naturally leads to the development of modern forms. Obtained material does not demonstrate a connection between traditional religious music in general. Rather, it constitutes an independent domain.

Keywords: Georgia, globalization, music, pentecostal

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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: Jachin Pousson, Valdis Bernhofs

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Applications of the binaural sound experience are wide-ranged. This paper focuses on the interaction between binaural tones and human emotion with an aim to apply the resulting knowledge artistically. For the purpose of this study, binaural music is defined as musical arrangements of sound which are made of combinations of binaural difference tones. Here, the term ‘binaural difference tone’ refers to the pulsating tone heard within the brain which results from listening to slightly differing audio frequencies or pure pitches in each ear. The frequency or tempo of the pulsations is the sum of the precise difference between the frequencies two tones and is measured in beats per second. Polyrhythmic pulsations that can be heard within combinations of these differences tones have shown to be able to entrain or tune brainwave patterns to frequencies which have been linked to mental states which can be characterized by different levels of attention and mood.

Keywords: binaural auditory pulsations, brainwave entrainment, emotion, music composition

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Authors: Karen V. Lee

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The significance of this study involves autoethnographic research about a music teacher learning about the socialization of gender issues in teaching. Mentorship involving intervention helps with the consequences influencing a transgendered music teacher. Basic storytelling methodology involves the qualitative method of research as a theoretical framework where the author provides a storied reflection about political issues surrounding teachers and the sociology of gender. Sub-themes involve counseling, adult education to ensure students and teachers receive social, emotional, physical, spiritual, and educational resources that evoke visceral, emotional responses from the audience. Major findings share how stories are helpful resources for others who struggle with the socialization of gender. It is hoped the research dramatizes an episodic yet incomplete story that highlights the circumstances surrounding the protagonist having his sex reassignment surgery during his undergraduate education degree. In conclusion, the research is a reflexive storied framework that embraces a positive outlook about a transgendered teacher during his masectomy. The sensory experience seeks verisimilitude by evoking lifelike and believable feelings from others. Thus, the scholarly importance of the sociology of gender and society provides transformative aspects that contributes to social change. Overall, the surgery surrounding the story about transgendered issues are not uncommon in society. Thus, continued education supports the moral mission to help teachers overcome and understand issues of gender that can socially impacts their professional lives as teachers.

Keywords: sociology of gender, transgender, music teachers, story, autoethnography as research, ideology

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