Search results for: Indian art music

Authors: Ali Shah

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This paper outlines the case study experience of using a variety of online strategies in an Australian music academy context during covid times. The study aimed at exploring how online applications help students to learn music, specifically playing musical instruments, composing songs, and performing virtually. To explore this, music teachers’ perceptions and experiences regarding online learning, the teaching strategies they implemented, and the challenges they faced were examined. For the purpose of this study, a qualitative research structure was adopted through the use of three data collection tools. These methods included pre- and post-research individual interviews of teachers and students, analysis of their lesson plans, virtual classroom observations of the teachers followed by the researcher’sown reflections, post-observation discussions, and teachers’ reflective journals. The findings revealed that teachers had a theoretical understanding of virtual learning and recent musical application such as Flowkey, Skoove, and Piano marvel, which are benefits of e-learning. While teachers faced challenges in implementing strategies to teach keyboard/piano online, overall, both students and teachers felt the positive impact of online applications and strategies on their learning and felt that modern technology made it possible for anyone to take music lessons at home.

Keywords: music, keyboard, piano, online learning, virtual learning

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Authors: Raymond Feng, Shadi Ghiasi

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An electroencephalogram (EEG) is a non-invasive technique that records electrical activity in the brain using scalp electrodes. Researchers have studied the use of EEG to detect emotions and moods by collecting signals from participants and analyzing how those signals correlate with their activities. In this study, researchers investigated the relationship between EEG signals and music enjoyment. Participants listened to music while data was collected. During the signal-processing phase, power spectral densities (PSDs) were computed from the signals, and dominant brainwave frequencies were extracted from the PSDs to form a comprehensive feature matrix. A machine learning approach was then taken to find correlations between the processed data and the music enjoyment level indicated by the participants. To improve on previous research, multiple machine learning models were employed, including K-Nearest Neighbors Classifier, Support Vector Classifier, and Decision Tree Classifier. Hyperparameters were used to fine-tune each model to further increase its performance. The experiments showed that a strong correlation exists, with the Decision Tree Classifier with hyperparameters yielding 85% accuracy. This study proves that EEG is a reliable means to detect music enjoyment and has future applications, including personalized music recommendation, mood adjustment, and mental health therapy.

Keywords: EEG, electroencephalogram, machine learning, mood, music enjoyment, physiological signals

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Authors: Yang Zhuo

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This study explores the integration of MIDI technology as one of the important digital technologies in music teaching, from the perspective of teaching practice, into the process of cultivating students' teaching skills. At the same time, the framework elements of the learning environment for music education students are divided into four aspects: digital technology supported learning space, new knowledge learning, teaching methods, and teaching evaluation. In teaching activities, more attention should be paid to students' subjectivity and interaction between them so as to enhance their emotional experience in teaching practice simulation. In the process of independent exploration and cooperative interaction, problems should be discovered and solved, and basic knowledge of music and teaching methods should be exercised in practice.

Keywords: music education, educational technology, MIDI, teacher training

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Authors: D. Garg, S. Luthra, A. Haleem

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Reverse logistics (RL) is supposed to be a systematic procedure that helps in improving the environmental hazards and maintain business sustainability for industries. Industries in Indian are now opting for adoption of RL techniques in business. But, RL practices are not popular in Indian industries because of many barriers for its successful implementation. Therefore, need arises to identify and evaluate the barriers to implement RL practices by taking an Indian industries perspective. Literature review approach and case study approach have been adapted to identify relevant barriers to implement RL practices. Further, Fuzzy Decision Making Trial and Evaluation Laboratory methodology has been brought into use for evaluating causal relationships among the barriers to implement RL practices. Seven barriers out of ten barriers have been categorized into the cause group and remaining into effect group. This research will help Indian industries to manage these barriers towards effective implementing RL practices.

Keywords: barriers, decision making trial and evaluation laboratory (DEMATEL), fuzzy set theory, Indian industries, reverse logistics (RL)

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Authors: Ghulam Shabir, Masood Nadeem

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The research work has been done on the Portrayal of Foreign Culture including Film, Art, and Drama in Pakistani English newspapers (Dawn and The News). For this purpose the weekly newspapers of three months (January to March) of the years 1990, 1995, 2000, 2005, and 2010 were analyzed. Content Analysis was employed for data interpretation and to draw the inferences. It was explored that to what extent the Foreign Culture has been depicted in our print media in the form of Film, Art, and Drama in comparison to Pakistani cultural context. The qualitative analysis revealed that Pakistani English newspapers gave more coverage to Foreign Culture. Pakistani film, art, and drama related issues have been less portrayed in the form of stories, columns, pictures, and news about music, fashion, ceremonies, programs, and shows. However, most of the space has been occupied by Western and Indian pictures, and news about music, fashion, ceremonies, programs and shows on the Cultural Page of these English newspapers.

Keywords: newspapers, portrayal of foreign culture, qualitative analysis, Pakistani English newspapers

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Authors: Ekta Pandey

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The Indian Pharmaceutical Industry is ranked third largest by volume and fourteenth by value. It thus accounts for 10% of world’s production by volume and 1.5% by value according to Department of Pharmaceuticals, Government of India. The industry has shown phenomenal growth over past few years, moving from US $ 1 billion turnover in 1990 to a turnover of around US $30 billion in 2015. The Indian pharmaceutical sector is ranked seventeenth in terms of export value of active pharmaceutical ingredients and dosage forms to more than 200 countries around the globe. It has shown tremendous changes especially after Trade Related Aspects of Intellectual Property Rights (TRIPS) agreement. Recognizing the immense potential for growth and its direct impact on Indian economy, it is important to look up the industrial policies adopted since Indian independence which turnaround the Indian pharmaceutical industry. A systematic review of changes in market structure of Indian pharmaceutical industry due to shift in policy regimes is done from 1850 to 2015 using secondary peer reviewed published research work. The aim is to understand the impact of anti-trust laws, intellectual property rights, industry competition acts and regulations are quite crucial in determining effective economic policy and have overall lasting effects on international trade and ties. The proposed paper examines the position of Indian domestic firms relative to multinational pharmaceutical firms tries to throw some light on the growth curve of Indian pharmaceutical sector.

Keywords: active pharmaceutical ingredients, competition act, pharmaceutical industry, TRIPS

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Authors: Subramanian Chidambaran

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Right from the Vedic period, we have instances of human heroes being deified and later even assimilated into other deities. Many scholars opine Indra to be one such Vedic deity who rose from a ‘human leader’ to the position of Devata. We also see the assimilation of the Vedic deity Rudra into Śiva in post-Vedic period. Thus the current deities and Gods we worship in the polytheistic Hindu system have been a result of many such deifications and assimilations. Hanumān is one such contemporary character in Indian culture that changed from a valiant hero of the Rāmāyaṇa to a prominent deity in present days. There are also many arguments on whether Hanumān was truly a monkey or a human as the term ‘vānara’ could be interpreted as ‘vā narah’ i.e. ‘or a human’. Despite the popularity of this deity, there is very little academic research done on the genesis and evolution of him. There are many questions that arise - Does Hanumān find any mention (in any form) in literature or archaeological evidence prior to Vālmῑki Rāmāyaṇa? What is the character of Hanumān in the Vālmῑki Rāmāyaṇa? How has this evolved in later Indian literature and where do we see the deification process beginning? What’s the character of Hanumān in literature beyond Indian shores such as Southeast Asian literature and how does it compare with those in Indian literature? This paper is an attempt to answer these questions and trace the evolution of the character Hanumān right from the Vālmῑki Rāmāyaṇa to other Indian literature as well as Southeast Asian literature.

Keywords: Hanumān, Indian, Rāmāyaṇa, Southeast Asia

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Authors: Raghavi Janaswamy, Saraswathi K. Vasudev

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Raga, as the soul and base, is a distinctive musical entity, in the music system, with unique structure on its construction of srutis (musical sounds) and application. One of the essential components of the music system is the ‘tala’ that defines the rhythm of a song. There are seven basic swaras (notes) Sa, Ri, Ga, Ma, Pa, Da and Ni in the carnatic music system that are analogous to the C, D, E, F, G, A and B of the western system. The carnatic music further builds on conscious use of microtones, gamakams (oscillation) and rendering styles. It has basic 72 ragas known as melakarta ragas, and a plethora of ragas have been developed from them with permutations and combinations of the basic swaras. Among them, some ragas derived from a same melakarta raga are distinctly different from each other and could evoke a profound difference in the raga bhava (emotion) during rendering. Although these could bear similar arohana and avarohana swaras, their quintessential differences in the gamakas usage and srutis present therein offer varied melodic feelings; variations in the intonation and stress given to certain swara phrases are the root causes. This article enlightens a group of such allied ragas (AR) from the perspectives of their schema and raga alapana (improvisation), ranjaka prayogas (signature phrases), differences in rendering tempo, gamakas and delicate srutis along with the range of sancharas (musical phrases). The intricate differences on the sruti frequencies and use of AR in composing kritis (musical compositions) toward emotive accomplishments such as mood of valor, kindness, love, humor, anger, mercy to name few, have also been explored. A brief review on the existing scientific research on the music therapy on some of the Carnatic ragas is presented. Studying and comprehending the AR, indeed, enable the music aspirants to gain a thorough knowledge on the subtle nuances among the ragas. Such knowledge helps leave a long-lasting melodic impression on the listeners and enable further research on the music therapy.

Keywords: Carnatic music, allied ragas, melakarta, gamakam

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Authors: Yuan-Hsiang Chang, Zhong-Xian Peng, Li-Der Jeng

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Music has always been an integral part of human’s daily lives. But, for the most people, reading musical score and turning it into melody is not easy. This study aims to develop an Automatic music score recognition system using digital image processing, which can be used to read and analyze musical score images automatically. The technical approaches included: (1) staff region segmentation; (2) image preprocessing; (3) note recognition; and (4) accidental and rest recognition. Digital image processing techniques (e.g., horizontal /vertical projections, connected component labeling, morphological processing, template matching, etc.) were applied according to musical notes, accidents, and rests in staff notations. Preliminary results showed that our system could achieve detection and recognition rates of 96.3% and 91.7%, respectively. In conclusion, we presented an effective automated musical score recognition system that could be integrated in a system with a media player to play music/songs given input images of musical score. Ultimately, this system could also be incorporated in applications for mobile devices as a learning tool, such that a music player could learn to play music/songs.

Keywords: connected component labeling, image processing, morphological processing, optical musical recognition

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Authors: Mei-Ying Liao, Lee-Ching Wei, Jung-Hsiang Tseng

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The main purpose of this study was to explore the process of planning and execution of the music learning center in preschool. This study was conducted through a collaborative action research method. The research members included a university music professor, a teaching guide, a preschool director, and a preschool teacher, leading a class of 5-6-year-old children to participate in this study. Five teaching cycles were performed with a subject of bird. In the whole process that lasted three months, the research members would maintain the conversation, reflection, and revision repeatedly. A triangular validated method was used to collect data, including archives, interviews, seminars, observations, journals, and learning evaluations to improve research on the validity and reliability. It was found that a successful music learning center required comprehensive planning and execution. It is also important to develop good listening, singing, respect, and homing habits at the beginning of running the music learning center. By timely providing diverse musical instruments, learning materials, and activities according to the teaching goals, children’s desire to learning was highly stimulated. Besides, peer interactions improved their ensemble and problem-solving abilities. The collaborative action research enhanced the preschool teacher’s confidence and promoted professional growth of the research members.

Keywords: collaborative action research, case study, music learning center, music development

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Authors: Konstantinos Sofianos, Michail Stefanidakis

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Nowadays, despite the great advances in technology, most educational frameworks lack a strong educational design basis. E-learning has become prevalent, but it faces various challenges such as student isolation and lack of quality in the learning process. An intelligent learning system provides a student with educational material according to their learning background and learning preferences. It records full information about the student, such as demographic information, learning styles, and academic performance. This information allows the system to be fully adapted to the student’s needs. In this paper, we propose a framework and an ontology for music education, consisting of the learner model and all elements of the learning process (learning objects, teaching methods, learning activities, assessment). This framework can be integrated into an intelligent learning system and used for music education in schools for the development of professional skills and beyond.

Keywords: intelligent learning systems, e-learning, music education, ontology, semantic web

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Authors: Santiago Guerra Fernández

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Abstract—This study is focused on exploring the conditions for the development of Galician music in the communities of Latin America after the massive arrival of Galician immigrants in the late nineteenth and early twentieth centuries, fleeing from hunger and misery in Spain. Migration would be accentuated after 1936 with the arrival of refugees from the Spanish Civil War due to their Republican political militancy fleeing fascism. The aim of this paper is to investigate the part that miscegenation with other local musical traditions has played within Galician expat music, helping to understand the complexity of contemporary Galician identity. Through archival work, the focus is set on examining the different traditional dances (such as the ‘muiñeira’), folk instruments (bagpipes, ‘pandeireta’), and poetic forms (‘cantiga’, ‘copla’) that were exported to Argentina and Cuba. Although research about migrant Galician music has been conducted in Spanish scholarship, there is a gap in the English literature on the topic that this paper intends to fill in. The results show how these musical traditions have played an essential role in shaping the social life and customs of Galician emigrants. By virtue of its malleability and blending properties, music serves here as an indicator of social cohesion.

Keywords: folk, Galicia, migration, identity

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Authors: Kirsten B. Hillman

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There is a growing body of qualitative research in adult mental health and music therapy contexts which highlights user perspectives; however, only a very small sub-section of this literature pertains to people with lived experiences of psychological trauma. This paper will provide a meta-synthesis of this existing body of research, with the intention to present a cohesive overview of salient themes in this research and a platform for the under-represented voices of those with lived experience. This synthesis will be contextualised within a broader discussion of ‘Voice’ in trauma and music therapy research, considering its layered meanings: including literal expressive vocalising and musical expression, voicing after experiences of silencing, and the possibilities of experiencing self-determination and agency in therapy after trauma.

Keywords: lived experience, music therapy, trauma, user perspectives

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Authors: Sananda Mukherjee, Nandini Lakshmikantha

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Films are considered as the most influential form of mass media. To attract audience films are made on various themes and issues which are assumed to have an impact on the behavioural pattern of the society. Among the various issues that have been bothering Indian society, health is primary. Thus it is important and interesting to study how health is being projected in Bollywood which is largely considered by the world as Indian cinema. This study tries to focus its attention on some select popular movies made in the recent decade and will try to analyse its content and significance of the same with the contemporary Indian society. It is evident that some of the movies made projecting health issues have earned good box office revenues, but have they been successful in making the public understand the significance of health issues they have been trying to project, is an interesting area to understand.

Keywords: box office, health issues, Indian cinema, social awareness

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Authors: Diana Grguric, Robert Svetlacic, Vladimir Simovic

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Scientific research analytically explores database playlists by studying the memory culture through Croatian popular radio music. The research is based on the scientific analysis of databases developed on the basis of the playlist of ten Croatian radio stations. The most recent Croatian song on Statehood Day 2008-2013 is analyzed in order to gain insight into their (memory) potential in terms of storing, interpreting and presenting a national identity. The research starts with the general assumption that popular music is an efficient identifier, transmitter, and promoter of national identity. The aim of the scientific research of the database was to analytically reveal specific titles of Croatian popular songs that participate in marking memories and analyzing their symbolic capital to gain insight into the popular music experience of the past and to develop a new method of scientifically based analysis of specific databases.

Keywords: specific databases, popular radio music, collective memory, national identity

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Authors: Po-Chun Wang, Yan-Ru Lai, Sophia I. C. Lin, Alvin W. Y. Su

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The Generative Theory of Tonal Music (GTTM) provides systematic approaches to recognizing local boundaries of music. The rules have been implemented in some automated melody segmentation algorithms. Besides, there are also deep learning methods with GTTM features applied to boundary detection tasks. However, these studies might face constraints such as a lack of or inconsistent label data. The GTTM database is currently the most widely used GTTM database, which includes manually labeled GTTM rules and local boundaries. Even so, we found some problems with these labels. They are sometimes discrepancies with GTTM rules. In addition, since it is labeled at different times by multiple musicians, they are not within the same scope in some cases. Therefore, in this paper, we examine this database with musicians from the aspect of classical music and relabel the scores. The relabeled database - GTTM Database v2.0 - will be released for academic research usage. Despite the experimental and statistical results showing that the relabeled database is more consistent, the improvement in boundary detection is not substantial. It seems that we need more clues than GTTM rules for boundary detection in the future.

Keywords: dataset, GTTM, local boundary, neural network

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Authors: Shiv Kumar

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In the shifting scenario of postmodern age that foregrounds the multiplicity of meanings and discourses, the present research article seeks to investigate various paradigm shift of contemporary performances concerning Haryanvi Saangs, so-called folk plays, which are being performed widely in the regional territory of Haryana, a northern state of India. Folk arts cannot be studied efficiently by using the tools of literary criticism because it differs from the literature in many aspects. One of the most essential differences is that literary works invariably have an author. Folk works, on the contrary, never have an author. The situation is quite clear: either we acknowledge the presence of folk art as a phenomenon in the social and cultural history of people, or we do not acknowledge it and argue it is a poetical or art of fiction. This paper is an effort to understand the performative tradition of Saang which is traditionally known as Saang, Swang or Svang became a popular source for instruction and entertainment in the region and neighbouring states. Scholars and critics have long been debating about the origin of the word swang/svang/saang and their relationship to the Sanskrit word –Sangit, which means singing and music. But in the cultural context of Haryana, the word Saang means ‘to impersonate’ or ‘to imitate’ or ‘to copy someone or something’. The stories they portray are derived for the most part from the same myths, tales, epics and from the lives of Indian religious and folk heroes. Literally, the use of poetic sense, the implication of prose style and elaborate figurative technique are worthwhile to compile the productivity of a performance. All use music and song as an integral part of the performance so that it is also appropriate to call them folk opera. These folk plays are performed strictly by aboriginal people in the state. These people, sometimes denominated as Saangi, possess a culture distinct from the rest of Indian folk performances. The concerned form is also known with various other names like Manch, Khayal, Opera, Nautanki. The group of such folk plays can be seen as a dynamic activity and performed in the open space of the theatre. Nowadays, producers contributed greatly in order to create a rapidly growing musical outlet for budding new style of folk presentation and give rise to the electronic focus genre utilizing many musicians and performers who had to become precursors of the folk tradition in the region. Moreover, the paper proposes to examine available sources relative to this article, and it is believed to draw some different conclusions. For instance, to be a spectator of ongoing performances will contribute to providing enough guidance to move forward on this root. In this connection, the paper focuses critically upon the major performative aspects of Haryanvi Saang in relation to several inquiries such as the study of these plays in the context of Indian literary scenario, gender visualization and their dramatic representation, a song-music tradition in folk creativity and development of Haryanvi dramatic art in the contemporary socio-political background.

Keywords: folk play, indigenous, performance, Saang, tradition

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Authors: Chechen Liao, Yi-Jen Huang, Yu-Ting Lu

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This study explores and complements digital aspects. In this study, we construct a research model based on the theory of reasoned action and extend it with the advantages and disadvantages of intangibility (convenience, perceived risk), some characteristics of digital products (price, variety, trialability), and factors related to entertainment (perceived playfulness) to predict what consumers really consider when they buy digital music. Eight hypotheses were tested and supported. Finally, we prove that the theory of reasoned action is still valid in the field of digital products.

Keywords: digital music, digital product, theory of reasoned action

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Authors: Tauqeer Ahmad

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A lot of literature have been produced addressing the problem of origin and development of tomb architecture in Pakistan and India. In this attempt, the author would address this problem in the Indian prospective. Particularly, the impact of indigenous architecture would be analyzed in this research paper. As we observe that on early Muslim tombs in Indian sub-continent, to large extent, were contributed in term of architecture by local masons. So far as the material used in these early tombs is concerned was also picked from Indian tradition according to the availability and the local traditions.

Keywords: Khitti Chor, tomb of Sultan Ghari, tomb at Zairan, Lasbela

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Authors: Arjun S.

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This study examines the impact of corporate governance on financial performance of Indian banks during five years (from 2010 to 2015). Based on 218 observations, a quantitative method of data analysis was employed to investigate the relevance of corporate governance mechanisms. The first finding reveals a significant and negative impact of board size on the performance of Indian banks. The research also finds a significant and negative relationship between CEO duality and bank performance. Finally, the correlation results reveal that there is a significant and negative correlation of Bank size and bank performance.

Keywords: Indian banks, financial performance, corporate governance, banksize

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Authors: Nikolaos Mamalis

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

Keywords: golden ratio, music, space, stochastic music

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Authors: Katharine Pollock

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Feminist scholars assert that a defining aspect of feminist confessional literature is that it expresses both an individual and communal identity, one which is predicated on the commonly-shared aspects of female experience. Reading feminist confessional literature in this way accommodates a plurality of readerly experiences and textual interpretations. It affirms the individual whilst acknowledging those experiences which bind women together, and refuses traditional objective criticism. It invites readers to see themselves reflected in the text, and encourages them to share their own stories. Similarly, music which communicates women’s personal experience, fictive or not, expresses a dual identity. There is an inherent risk of imposing a confessional reading upon a musical or literary text. Understanding music as being multivocal in the same way as confessional literature negates this patriarchal tendency, and allows listeners to engage with both the subjective and collective aspects of a text. By hearing their own stories reflected in the music, listeners engage in an ongoing dialogic process in which female stories are prioritised. This refuses patriarchal silencing and ensures a diversity of female voices. To demonstrate the veracity of these claims, literary criticism is applied to Lily Allen’s music, and memoir My Thoughts Exactly.

Keywords: confession, female, feminist, literature, music

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Authors: Nabil Shair

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Arab music maqām (Arab modal framework) is founded, among other main characteristics, on microtonal intervals. Notwithstanding the importance and multifaceted nature of intonation in Arab music, there is a paucity of studies examining this subject based on scientific and quantitative approaches. The present-day theory concerning the Arab tone system is largely based on the pioneering treatise of Mīkhā’īl Mashāqah (1840), which proposes the theoretical division of the octave into 24 equal quarter tones. This kind of equal-tempered division is incompatible with the performance practice of Arab music, as many professional Arab musicians conceptualize additional pitches beyond the standard 24 notes per octave. In this paper, we refute the standard theory presenting the scale of well-tempered quarter tones by implementing a quantitative analysis of the performed intonation of two prominent tetrachords in Arab music, namely bayyātī and ḥijāz. This analysis was conducted with the help of advanced computer programs, such as Sonic Visualiser and Tony, by which we were able to obtain precise frequency data (Hz) of each tone every 0.01 second. As a result, the value (in cents) of all three intervals of each tetrachord was measured and accordingly compared to the theoretical intervals. As a result, a specific distribution of a range of deviation from the equal-tempered division of the octave was detected, especially the detection of a diminished first interval of bayyātí and diminished second interval of ḥijāz. These types of intonation entail a considerable amount of flexibility, mainly influenced by surrounding tones, direction and function of the measured tone, ornaments, text, personal style of the performer and interaction with the audience. This paper seeks to contribute to the existing literature dealing with intonation in Arab music, as it is a vital part of the performance practice of this musical tradition. In addition, the insights offered by this paper and its novel methodology might also contribute to the broadening of the existing pedagogic methods used to teach Arab music.

Keywords: Arab music, intonation, performance practice, music theory, oral music, octave division, tetrachords, music of the middle east, music history, musical intervals

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Authors: Toledo-Fernandez Aldebaran

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Introduction: One of the least explored cognitive functions in relation with depression is the one related to musical stimuli. Music perception and memory can become impaired as well. The term amusia is used to define a type of agnosia caused by damage to basic processes that creates a general inability to perceive music. Therefore, the main objective is to explore performance-based and self-report deficits in music perception and memory on people with major depressive disorder (MDD). Method: Data was collected through April-October 2021 recruiting people who met the eligibility criteria and using the Montreal Battery of Evaluation of Amusia (MBEA) to evaluate performance-based music perception and memory, along with the module for depression of the Mini International Neuropsychiatric Interview, and the Amusic Dysfunction Inventory (ADI) which evaluates the participants’ self-report concerning their abilities in music perception. Results: 64 participants were evaluated. The main study, referring to analyzing the differences between people with MDD and the control group, only showed one statistical difference on the Interval subtest of the MBEA. No difference was found in the dimensions assessed by the ADI. Conclusion: Deficits in interval perception can be explained by mental fatigue, to which people with depression are more vulnerable, rather than by specific deficits in musical perception and memory associated with depressive disorder. Additionally, significant associations were found between musical deficits as observed by performance-based evidence and music dysfunction according to self-report, which could suggest that some people with depression are capable of detecting these deficits in themselves.

Keywords: depression, amusia, music, perception, memory

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Authors: Yu-Shun Elisa Pong

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Music aesthetics related to phenomenology is rarely discussed and still in the ascendant while multi-dimensional discourses of philosophy were emerged to be an important trend in the 20th century. In the present study, a basic theory of phenomenology from Edmund Husserl (1859-1938) is revealed and discussed followed by the introduction of intentionality concepts, eidetic reduction, horizon, world, and inter-subjectivity issues. Further, phenomenology of music and general art was brought to attention by the introduction of Roman Ingarden’s The Work of Music and the Problems of its Identity (1933) and Mikel Dufrenne’s The Phenomenology of Aesthetic Experience (1953). Finally, Debussy’s music will be analyzed and discussed from the perspective of phenomenology. Phenomenology is not so much a methodology or analytics rather than a common belief. That is, as much as possible to describe in detail the different human experience, relative to the object of purpose. Such idea has been practiced in various guises for centuries, only till the early 20th century Phenomenology was better refined through the works of Husserl, Heidegger, Sartre, Merleau-Ponty and others. Debussy was born in an age when the Western society began to accept the multi-cultural baptism. With his unusual sensitivity to the oriental culture, Debussy has presented considerable inspiration, absorption, and echo in his music works. In fact, his relationship with nature is far from echoing the idea of Chinese ancient literati and nature. Although he is not the first composer to associate music with human and nature, the unique quality and impact of his works enable him to become a significant figure in music aesthetics. Debussy’s music tried to develop a quality analogous of nature, and more importantly, based on vivid life experience and artistic transformation to achieve the realm of pure art. Such idea that life experience comes before artwork, either clear or vague, simple or complex, was later presented abstractly in his late works is still an interesting subject worth further discussion. Debussy’s music has existed for more than or close to a century. It has received musicology researcher’s attention as much as other important works in the history of Western music. Among the pluralistic discussion about Debussy’s art and ideas, phenomenological aesthetics has enlightened new ideas and view angles to relook his great works and even gave some previous arguments legitimacy. Overall, this article provides a new insight of Debussy’s music from phenomenological exploration and it is believed phenomenology would be an important pathway in the research of the music aesthetics.

Keywords: Debussy's music, music esthetics, oriental culture, phenomenology

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Authors: Satarupa Bhattacharjee

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Inter-religious dialogue and understanding are possible without losing one’s own identity. We find a unique blend of tradition, reason and human values in contemporary Indian thought. On this point, we may take note of the similarity between views of M. K. Gandhi and the religious discourse of Swami Vivekananda, i.e., all religions as different paths to God realisation but their unity lies in their goal, which is attainment of God, who is One. This enrichment guided us towards a kind of religious pluralism of John Hicks, who gives a solution to the problems of co-existence of diverse religions without undermining any religion. The plurality percolates into different spheres of Indian society and regarded as a chord with discord in a wonderful music. Swami Vivekananda believes that to serve man is to serve God. Both M. K. Gandhi and Swami Vivekananda were non-dualist and believed in the essential unity of man. Gandhi believes in the many foldedness of reality. Swami Vivekananda’s attitude towards religion is in principles of co-existence and acceptance. These principles have been accumulated in such a way that gave us a different world-view. The concept of unity, tolerance, equality, etc. can be achieved only by a spiritual attitude. Dynamism of spirituality stands in between man’s empirical existence and his spiritual destination and manifests itself in the different aspects of life including religious understanding. It is a movement towards pluralism. It is the fusion of spirituality with plurality which characterizes the concept of religious pluralism. This re-visited religious pluralism will open a new horizon of love and tolerance in our society. M. K. Gandhi and Swami Vivekananda paved the path for new horizon for a resurgent world. So the Indian spiritualism re-vitalised the concept of pluralism and stimulated its progress towards a new world.

Keywords: M. K. Gandhi, religious pluralism, Swami Vivekananda, worldview

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Authors: Bingqing Chen

Abstract:

The Opium War unlocked the gate of China. Since then, modern western culture has been imported strongly and spread throughout this Asian country. The monologue of traditional Chinese culture in the past has been replaced by the hustle and bustle of multiculturalism. In the field of music, starting from school music, China, a country without the concept of composition, was deeply influenced by western culture and professional music composition, and entered the era of professional music composition. Recognizing the importance of national culture, a group of insightful artists began to try to add ‘China’ to musical composition. However, due to the special historical origin of Chinese professional musical composition and the three times of cultural nihilism in China, professional musical composition at this time failed to interpret the deep language structure of local culture within Chinese traditional culture, but only regarded Chinese traditional music as a ‘melody material library.’ At this time, the cross-cultural composition still takes Western music as its ‘norm,’ while our own music culture only exists as the sound of the contrast of Western music. However, after reading scores extensively, watching video performances, and interviewing several active composers, we found that at least in the past 30 years, China has created some works that can be called intercultural music. In these kinds of music, composers put Chinese and Western, traditional and modern in an almost equal position to have a dialogue based on their deep understanding and respect for the two cultures. This kind of music connects two music worlds, and links the two cultural and ideological worlds behind it, and communicates and grows together. This paper chose the works of three composers with different educational backgrounds, and pay attention to how composers can make a dialogue at the organizational structure level of their works. Based on the strategies adopted by composers in structuring their works, this paper expounds on how the composer's music procedure shows intercultural in terms of whole sound effects and cultural symbols. By actively participating in this intercultural practice, composers resorting to various musical and extra-musical procedures to arrive at the so-called ‘innovation within tradition.’ Through the dialogue, we can activate the space of creative thinking and explore the potential contained in culture. This interdisciplinary research promotes the rethinking of the possibility of innovation in contemporary Chinese intercultural music composition, spanning the fields of sound studies, dialogue theory, cultural research, music theory, and so on. Recently, China is calling for actively promoting 'the construction of Chinese music canonization,’ expecting to form a particular music style to show national-cultural identity. In the era of globalization, it is possible to form a brand-new Chinese music style through intercultural composition, but it is a question about talents, and the key lies in how composers do it. There is no recipe for the formation of the Chinese music style, only the composers constantly trying and tries to solve problems in their works.

Keywords: dialogism, intercultural music, national-cultural identity, organization/structure, sound

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Authors: Shankha Sanyal, Archi Banerjee, Sayan Biswas, Sourya Sengupta, Sayan Nag, Ranjan Sengupta, Dipak Ghosh

Abstract:

The term ‘gestalt’ has been widely used in the field of psychology which defined the perception of human mind to group any object not in part but as a 'unified' whole. Music, in general, is polyphonic - i.e. a combination of a number of pure tones (frequencies) mixed together in a manner that sounds harmonious. The study of human brain response due to different frequency groups of the acoustic signal can give us an excellent insight regarding the neural and functional architecture of brain functions. Hence, the study of music cognition using neuro-biosensors is becoming a rapidly emerging field of research. In this work, we have tried to analyze the effect of different frequency bands of music on the various frequency rhythms of human brain obtained from EEG data. Four widely popular Rabindrasangeet clips were subjected to Wavelet Transform method for extracting five resonant frequency bands from the original music signal. These frequency bands were initially analyzed with Detrended/Adaptive Fractal analysis (DFA/AFA) methods. A listening test was conducted on a pool of 100 respondents to assess the frequency band in which the music becomes non-recognizable. Next, these resonant frequency bands were presented to 20 subjects as auditory stimulus and EEG signals recorded simultaneously in 19 different locations of the brain. The recorded EEG signals were noise cleaned and subjected again to DFA/AFA technique on the alpha, theta and gamma frequency range. Thus, we obtained the scaling exponents from the two methods in alpha, theta and gamma EEG rhythms corresponding to different frequency bands of music. From the analysis of music signal, it is seen that loss of recognition is proportional to the loss of long range correlation in the signal. From the EEG signal analysis, we obtain frequency specific arousal based response in different lobes of brain as well as in specific EEG bands corresponding to musical stimuli. In this way, we look to identify a specific frequency band beyond which the music becomes non-recognizable and below which in spite of the absence of other bands the music is perceivable to the audience. This revelation can be of immense importance when it comes to the field of cognitive music therapy and researchers of creativity.

Keywords: AFA, DFA, EEG, gestalt in music, Hurst exponent

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Authors: Sehwan Kim, Jepkorir Rose Chepyator Thomson

Abstract:

Music provides opportunities to affirm social identities and facilitate the internalization of one’s identity. The purpose of this study was to examine the role of music in breaking down boundaries between the in-group and out-of-group sport participants. Social identity theory was used to guide an understanding of two American-born South Korean skaters—Yura Min and Alexander Gamelin—who used a Korean representative traditional folk song, Arirang, at the 2018 Winter Olympics. This was an interpretive case study that focused on 2018 Winter Olympic participants whose performance and use of music was understood through the lenses of Koreans. Semi-structured interviews were conducted with 15 Korean audiences who watched two American-born South Korean skaters’ performances. Data analysis involved the determination of themes in the data collected. The findings of this study are as follows: First Koreans viewed the skaters as the out-group based on ethnic appearances and stereotypes. Second, Koreans’ inter-group bias against the skaters was meditated after Koreans watched the skaters as they used Arirang song in performance. Implications for this study include the importance of music as an instrument of unity across diverse populations, including intergroup relations. Music can also offer ways to understand people’s cultures and bridge gaps between age and gender across categories of naturalization.

Keywords: impact of music, intergroup relations, naturalized athletes, social identity theory

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Authors: Mladen Milicevic

Abstract:

This presentation will address how the statistical analysis of digitized popular music influences the music creation and emotionally manipulates consumers.Furthermore, it will deal with semiological aspect of uniformization of musical taste in order to predict the potential revenues generated by popular music sales. In the USA, we live in an age where most of the popular music (i.e. music that generates substantial revenue) has been digitized. It is safe to say that almost everything that was produced in last 10 years is already digitized (either available on iTunes, Spotify, YouTube, or some other platform). Depending on marketing viability and its potential to generate additional revenue most of the “older” music is still being digitized. Once the music gets turned into a digital audio file,it can be computer-analyzed in all kinds of respects, and the similar goes for the lyrics because they also exist as a digital text file, to which any kin of N Capture-kind of analysis may be applied. So, by employing statistical examination of different popular music metrics such as tempo, form, pronouns, introduction length, song length, archetypes, subject matter,and repetition of title, the commercial result may be predicted. Polyphonic HMI (Human Media Interface) introduced the concept of the hit song science computer program in 2003.The company asserted that machine learning could create a music profile to predict hit songs from its audio features Thus,it has been established that a successful pop song must include: 100 bpm or more;an 8 second intro;use the pronoun 'you' within 20 seconds of the start of the song; hit the bridge middle 8 between 2 minutes and 2 minutes 30 seconds; average 7 repetitions of the title; create some expectations and fill that expectation in the title. For the country song: 100 bpm or less for a male artist; 14-second intro; uses the pronoun 'you' within the first 20 seconds of the intro; has a bridge middle 8 between 2 minutes and 2 minutes 30 seconds; has 7 repetitions of title; creates an expectation,fulfills it in 60 seconds.This approach to commercial popular music minimizes the human influence when it comes to which “artist” a record label is going to sign and market. Twenty years ago,music experts in the A&R (Artists and Repertoire) departments of the record labels were making personal aesthetic judgments based on their extensive experience in the music industry. Now, the computer music analyzing programs, are replacing them in an attempt to minimize investment risk of the panicking record labels, in an environment where nobody can predict the future of the recording industry.The impact on the consumers taste through the narrow bottleneck of the above mentioned music selection by the record labels,created some very peculiar effects not only on the taste of popular music consumers, but also the creative chops of the music artists as well. What is the meaning of this semiological shift is the main focus of this research and paper presentation.

Keywords: music, semiology, commercial, taste

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