Search results for: computer generated music

Authors: Abigail Wiafe, Charles Nutrokpor, Adelaide Oduro-Asante

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The advancement of technology is rapidly making people more receptive to music as computer-generated music requires minimal human interventions. Though algorithms are applied to generate music, the human experience of emotions is still explored. Thus, this study investigates the emotions humans experience listening to computer-generated music that possesses aesthetic qualities. Forty-two subjects participated in the survey. The selection process was purely arbitrary since it was based on convenience. Subjects listened and evaluated the emotions experienced from the computer-generated music through an online questionnaire. The Likert scale was used to rate the emotional levels after the music listening experience. The findings suggest that computer-generated music possesses aesthetic qualities that do not affect subjects' emotions as long as they are pleased with the music. Furthermore, computer-generated music has unique creativity, and expressioneven though the music produced is meaningless, the computational models developed are unable to present emotional contents in music as humans do.

Keywords: aesthetic, algorithms, emotions, computer-generated music

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Authors: Noriki Amano

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The final goal of this study is to create another way in which people enjoy music through the performance of 'Wearable Music'. Concretely speaking, we generate colorful costumes in real- time from music and to realize their dressing by projecting them to a person. For this purpose, we propose three methods in this study. First, a method of giving color to music in a three-dimensionally way. Second, a method of generating images of costumes from music. Third, a method of wearing the images of music. In particular, this study stands out from other related work in that we generate images of unique costumes from music and realize to wear them. In this study, we use the technique of generative arts to generate images of unique costumes and project the images to the fog generated around a person from 3-way using projectors. From this study, we can get how to enjoy music as 'wearable'. Furthermore, we are also able to have the prospect of unconventional entertainment based on the fusion between music and costumes.

Keywords: entertainment computing, costumes, music, generative programming

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Authors: Hervé Zénouda

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This article seeks to shed light on an emerging creative field: "Audio games," at the crossroads between video games and computer music. Indeed, many applications, which propose entertaining audio-visual experiences with the objective of musical creation, are available today for different supports (game consoles, computers, cell phones). The originality of this field is the use of the gameplay of video games applied to music composition. Thus, composing music using interfaces but also cognitive logics that we qualify as "a-musicological" seem to us particularly interesting from the perspective of musical digital organology. This field raises questions about the representation of sound and musical structures and develops new instrumental gestures and strategies of musical composition. We will try in this article to define the characteristics of this field by highlighting some historical milestones (abstract cinema, game theory in music, actions, and graphic scores) as well as the novelties brought by digital technologies.

Keywords: audio-games, video games, computer generated music, gameplay, interactivity, synesthesia, sound interfaces, relationships image/sound, audiovisual music

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Authors: Yumeng He

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The purpose of this paper is to establish the “extenics” of children music education, the “extenics” thought and methods are introduced into the children music education field. Discussions are made from the perspective of children music education on how to generate new music cognitive from music cognitive, how to generate new music education from music education and how to generate music learning from music learning. The research methods including the extensibility of music art, extensibility of music education, extensibility of music capability and extensibility of music learning. Results of this study indicate that the thought and research methods of children’s extended music education not only have developed the “extenics” concept and ideological methods, meanwhile, the brand-new thought and innovative research perspective have been employed in discussing the children music education. As indicated in research, the children’s extended music education has extended the horizon of children music education, and has endowed the children music education field with a new thought and research method.

Keywords: comprehensive evaluations, extension thought, extension cognition music education, extensibility

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Authors: Sofia Douklia

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The present context paper aims to present the important role of ‘student voice’ and the music teacher in the classroom, which contributes to more student-centered music education. The aim is to focus on the functions of the student voice through the music spectrum, which has been born in the music classroom, and the teacher’s methodologies and techniques used in the music classroom. The music curriculum, the principles of student-centered music education, and the role of students and teachers as music ambassadors have been considered the major music parameters of student voice. The student- voice is a worth-mentioning aspect of a student-centered education, and all teachers should consider and promote its existence in their classroom.

Keywords: student's voice, student-centered education, music ambassadors, music teachers

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Authors: Mladen Milicevic

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This paper explores how the explosion of computer technologies has allowed for the democratization of many aspects of human activities, which were in the past only available through the institutionalized channels of production and distribution. We will going to use as an example the music recording industries, just to illustrate this process, but the analogies to other activities and aspects of human life can easily be extrapolated from it.

Keywords: aura, democratization, music industry, music sharing, paradigm-shift

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Authors: Xiao Liulingzi

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It is important for using multi-sensory teaching in music learning. This article aims to provide knowledge in multi-sensory learning and teaching music in primary school. For primary school students, in addition to the training of basic knowledge and skills of music, students' sense of participation and creativity in music class are the key requirements, especially the flexibility and dynamics in music class, so that students can integrate into music and feel the music. The article explains the multi-sensory sense in music learning, the differences between multi-sensory music teaching and traditional music teaching, and music multi-sensory teaching in primary schools in China.

Keywords: multi-sensory, teaching practice, primary music classroom, China

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Authors: Nurul A. Hamzah, Tony Morris, Dan Van Der Westhuizen

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Music listening can potentially promote the achievement of flow state during exercise. Selecting music for exercise should consider the motivational factors-internal factors (music tempo and musicality) and external factors (cultural impact and association). This study was a cross-over study which was designed to examine the motivational qualities of music (participant-selected music and researcher-selected music) and flow state responses during exercise accompanying with music. 17 healthy participants (M=30.2, SD=6.3 years old) were among low physical activity individuals. Participants completed two separate sessions of 30 minutes of moderate intensity exercise (40-60% of Heart Rate Reserve) while listening to music. Half the participants at random were assigned to exercise with participant-selected music first, and half were assigned to exercise with researcher-selected music first. Parameters including flow state responses (Flow State Scale-2) and motivational music rating (Brunel Music Rating Inventory-2) were administered immediately after the exercise. Results from this study showed that there were no significant differences for both flow state t(32)=0.00, p>0.05 and motivational music rating t(32)= .393, p>0.05 between exercise with participant-selected music and exercise with researcher-selected music. Listening to music either participant or researcher selected music could promote flow experience during exercise when music is perceived as motivational. Music tempo and music preference are factors that could influence individuals to enjoy exercise and improve the exercise performance.

Keywords: motivational music, flow state, researcher-selected music, participant-selected music

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Authors: Mladen Milicevic

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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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Authors: Bartholomew Badar

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An NFT is a digital certificate with rights to own an asset, including various valuable digital goods such as art pieces, music items, collectibles, etc. The market for NFTs started developing in 2017 and has lately seen increased growth as crypto-currencies and the blockchain market continue to gain popularity. This study aims to understand potential uses for NFTs concerning the music industry and record labels. Independent artists struggle to distribute and sell their music without the help of a record label. The NFT marketplace could be a great tool to eliminate this problem. The research objective is to identify possibilities for independent artists to own their music rights and share value with an audience. We see a trend of new-school music artists trying to enter the music NFT market by creating visualizers, beats, cover art, etc. To analyze various existing music NFT assets and determine whether or not independent artists could monetize their music without a record label is the main focus of this scholarly paper.

Keywords: blockchain, crypto-currency, music, artist, NFT

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Authors: Hsu-Hui Cheng, Peng-Chian Chen, Shu-Yuan Chang, Jie-Ying Zhang

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Activities in the music practice rooms range from playing, listening, rehearsing to music performing. The good room acoustics in a music practice room enables a music teacher to teach more effectively subtle concepts such as intonation, articulation, balance, dynamics and tone production. A poor acoustical environment would deeply affect the development of basic musical skills of music students. Practicing in the music practice room is an essential daily activity for music students; consequently, music practice rooms are very important facilities in a music school or department. The purpose of this survey is to measure and analyze the acoustic condition of piano practice rooms at the department of music in Zhaoqing University and accordingly apply a more effective teaching method to music students. The volume of the music practice room is approximately 25 m³, and it has existing curtains and some wood hole sound-absorbing panels. When all small music practice rooms are in constant use for teaching, it was found that the values of the background noise at 45, 46, 42, 46, 45 dB(A) in the small music practice room ( the doors and windows were close), respectively. The noise levels in the small music practice room to higher than standard levels (35dB(A)).

Keywords: acoustical performance, music practice room, noise level, piano room

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Authors: Diella Gracia Martauli

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This study investigated the relationship between music aptitude and school readiness in Indonesian children. Music aptitude is described as children’s music potential, whereas school readiness is defined as a condition in which a child is deemed ready to enter the formal education system. This study presents a hypothesis that music aptitude is correlated with school readiness. This is a correlational research study of 17 children aged 5-6 years old (M = 6.10, SD = 0.33) who were enrolled in a kindergarten school in Jakarta, Indonesia. Music aptitude scores were obtained from Primary Measures of Music Audiation, whereas School readiness scores were obtained from Bracken School Readiness Assessment Third Edition. The analysis of the data was performed using Pearson Correlation. The result found no correlation between music aptitude and school readiness (r = 0.196, p = 0.452). Discussions regarding the results, perspective from the measures and cultures are presented. Further study is recommended to establish links between music aptitude and school readiness.

Keywords: BSRA, music aptitude, PMMA, school readiness

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Authors: Muhammad Ammar, Talha Ali, Abdul Basit, Bakhtawar Rajput, Zobia Sohail

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Music note detection is an area of study for the past few years and has its own influence in music file generation from sheet music. We proposed a method to detect music notes on sheet music using basic thresholding and blob detection. Subsequently, we created a notes dictionary using a semi-supervised learning approach. After notes detection, for each test image, the new symbols are added to the dictionary. This makes the notes detection semi-automatic. The experiments are done on images from a dataset and also on the captured images. The developed approach showed almost 100% accuracy on the dataset images, whereas varying results have been seen on captured images.

Keywords: music note, sheet music, optical music recognition, blob detection, thresholding, dictionary generation

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Authors: Takwa Jahan

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Music can be used in ESL classroom to create a learning environment. As literature abounds with positive statements, music can be used as a vehicle for second language acquisition. Music can be applied as an instrument to help second language learners to acquire vocabulary, grammar, spelling and other four skills and to expand cultural knowledge. Vocabulary learning is perceived boring by learners. As listening to music and singing songs are enjoyable to students, it can be used effectively to acquire vocabulary in second language. This paper reports a study to find out how music exhilarates vocabulary acquisition as the learners stay relaxed and thus learning becomes more enjoyable. For conducting my research two groups of fifty students- music and non-music group were formed. Data were collected through class observation, test, questionnaires, and interview. The finding shows that music group acquired much amount of vocabulary than the non-music group. They enjoyed vocabulary learning activities based on listening songs.

Keywords: effective instrument, ESL classroom, music, relax environment, vocabulary learning

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Authors: Emmanuel Carlos De Mata Castrejón

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Music education has shown to be connected to many areas of sciences and arts, it has also been associated with several facets of human life. The many aspects around the study of music and education, make very difficult for the music educator to find a way through, even though there are lots of methods of teaching music to young children, they are different between one another and so are the students. For the music to help improve children’s development, it is necessary for the children to explore their musicality as they explore their creativity; it must be a challenging, playful, and enjoyable activity. The purpose of this investigation is to focus the music education not in the music, nor the teaching, but the children to be guided through their own musicality. The first approach to this kind of music education comes from the Active learning methods during the nineteenth century, most of which are still used around the world, sometimes with modifications to fit a certain place or type of students. This approach on children’s musicality requires some knowledge of music, pedagogy, and developmental psychology at least, but more important than the theory or the method used for music education, the focus should be on developing the student’s musicality, considering the complexity of this concept. To get this, it is needed, indeed, far more research in the topic, so this is a call for collaborative research and for interdisciplinary teams to emerge. This is a review of authors and methods in music education trying to trace a line pointing to transdisciplinary work and pursuing the development of children’s musicality.

Keywords: children, methods, music education, musicality

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Authors: Y. Trantafyllou, C. Alexandraki

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Music interpretation accounts to the way musicians shape their performance by deliberately deviating from composers’ intentions, which are commonly communicated via some form of music transcription, such as a music score. For transcribed and non-improvised music, music expression is manifested by introducing subtle deviations in tempo, dynamics and articulation during the evolution of performance. This paper presents an application, named FlameCens, which, given two recordings of the same piece of music, presumably performed by different musicians, allow visualising deviations in tempo and dynamics during playback. The application may also compare a certain performance to the music score of that piece (i.e. MIDI file), which may be thought of as an expression-neutral representation of that piece, hence depicting the expressive queues employed by certain performers. FlameCens uses the Dynamic Time Warping algorithm to compare two audio sequences, based on CENS (Chroma Energy distribution Normalized Statistics) audio features. Expressive deviations are illustrated in a moving flame, which is generated by an animation of particles. The length of the flame is mapped to deviations in dynamics, while the slope of the flame is mapped to tempo deviations so that faster tempo changes the slope to the right and slower tempo changes the slope to the left. Constant slope signifies no tempo deviation. The detected deviations in tempo and dynamics can be additionally recorded in a text file, which allows for offline investigation. Moreover, in the case of monophonic music, the color of particles is used to convey the pitch of the notes during performance. FlameCens has been implemented in Python and it is openly available via GitHub. The application has been experimentally validated for different music genres including classical, contemporary, jazz and popular music. These experiments revealed that FlameCens can be a valuable tool for music specialists (i.e. musicians or musicologists) to investigate the expressive performance strategies employed by different musicians, as well as for music audience to enhance their listening experience.

Keywords: audio synchronization, computational music analysis, expressive music performance, information visualization

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Authors: David O. A. Ogunrinade

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The significance of education to the growth and development of man is imperative. The Nigerian education philosophy and national objectives are geared towards self-realization, social, cultural, and economic, just to mention a few. The acquisition of skills and abilities, both mental and physical, for individual to live and contribute to the development of society should be of major importance to a functional education curriculum. This study specifically set out to examine the momentous potentials of popular music as a veritable tool to be properly incorporated into the curriculum of music education in Nigeria. This will equip the learners to be self-reliant and contribute to the national economy. Interviews with exponents of Nigerian popular music and the stakeholders in the music industry, as well as audio-visual materials were employed to elicit information. Findings reveal that there are lots of potentials and dexterities in popular music that can enable Nigerian music graduates to contribute their own quota to the national development of the nation, as well as being useful to themselves. If the Nigerian society is not to be plagued by a breed of unemployable youths who could not raise the economic productivity of the country, it is deemed pertinent that the music curriculum as one of the vocational education needs to be reviewed to incorporate popular music, as well as to reflect more of the Nigerian cultural heritage.

Keywords: popular music, music curriculum, music in schools, popular music prospect

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Authors: Shan-Ken Chine

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This research aims to a one-year course run of String Music Appreciation, an international online course launched on the British open education platform. It explains how to present music teaching videos with three main features. They are music lesson explanations, instrumental playing demonstrations, and live music performances. The plan of this course is with four major themes and a total of 97 steps. In addition, the paper also uses the testing data provided by the education platform to analyze the performance of learners and to understand the operation of the course. It contains three test data in the statistics dashboard. They are course-run measures, total statistics, and statistics by week. The paper ends with a review of the course's star rating in this one-year run. The result of this course run will be adjusted when it starts again in the future.

Keywords: music online courses, MOOCs, ubiquitous learning, string music, general music education

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Authors: Jayakrishnan Narayanan, Sengamalam Periyasamy Dhanavel

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Indian classical (Karnatik) music videos across various media platforms have followed an audio-visual pattern that conforms to its socio-cultural and quasi-religious identity. The present paper analyzes the semiotic variations between ‘pure Karnatik music videos’ and ‘independent/contemporary-collaborative music videos’ posted on social media by young professional Karnatik musicians. The paper analyzes these media texts by comparing their various structural sememes namely, the title, artists, music, narrative schemata, visuals, lighting, sound, and costumes. The paper argues that the pure Karnatik music videos are marked by the presence of certain recurring mythological or third level signifiers and that these signifiers and codes are marked by their conspicuous absence in the independent music videos produced by the same musicians. While the music and the musical instruments used in both these sets of music videos remain similar, the meaning that is abducted by the beholder in each case is entirely different. The paper also attempts to study the identity conflicts that are projected through these music videos and the extent to which the cultural connotations of Karnatik music govern the production of its music videos.

Keywords: abduction, identity, media semiotics, music video

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Authors: Zimasa Siyasanga Gysman

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This paper assesses the history of electronic music and its performance to illustrate that machines and technology have largely influenced how humans perform electronic music. The history of electronic music mainly focuses on the composition and production of electronic music with little to no attention paid to its performance by the majority of scholars in this field. Therefore, establishing a history of performance involves investigating what compositions of electronic music called for in the production of electronic music performance. This investigation into seminal works in the history of electronic music, therefore, illustrates the aesthetics of electronic music performance and the aesthetics established in the very beginnings of electronic music performance demonstrate the aesthetics of electronic music which are still prevalent today. The key aesthetics are the repurposing of technology and the hybridisation of technology. Performers take familiar technology (technology that society has become accustomed to using in daily life), not necessarily related to music or performance and use it as an instrument in their performances, such as a rotary dial telephone. Likewise, since the beginnings of electronic music, producers have always experimented with the latest technologies available to them in their compositions and performances. The spirit of performers of electronic music, therefore, revolves around repurposing familiar technologies and using them in new ways, whilst similarly experimenting with new technologies in their performances. This process of hybridisation plays a key role in the production and performance of electronic music in the twentieth century. Through various interviews with performers of electronic music, it is shown that these aesthetics are driving performance practices in the twenty-first century.

Keywords: body, hybridisation, performance, sound

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Authors: Yoon Suh Song

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Though music education can broaden one’s capacity for mathematical performance, many countries lag behind in music education. Little empirical evidence is found to identify the connection between math and music. Therefore, this research was set out to explore what music-related variables are associated with mathematical performance. The result of our analysis is as follows: A Pearson's Correlation analysis revealed that PISA math score is strongly correlated with students' Intelligence Quotient (IQ). This lays the foundation for further research as to what factors in students’ IQ lead to a better performance in math.

Keywords: music education, mathematical performance, education, IQ

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Authors: Shao-Di Feng, Von-Wun Soo

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To generate symbolic music with specific emotions is a challenging task due to symbolic music datasets that have emotion labels are scarce and incomplete. This research aims to generate more refined emotions based on the training datasets that are only labeled with four quadrants in Russel’s 2D emotion model. We focus on the theory of Music Fadernet and map arousal and valence to the low-level attributes, and build a symbolic music generation model by combining transformer and GM-VAE. We adopt an in-attention mechanism for the model and improve it by allowing modulation by conditional information. And we show the music generation model could control the generation of music according to the emotions specified by users in terms of high-level linguistic expression and by manipulating their corresponding low-level musical attributes. Finally, we evaluate the model performance using a pre-trained emotion classifier against a pop piano midi dataset called EMOPIA, and by subjective listening evaluation, we demonstrate that the model could generate music with more refined emotions correctly.

Keywords: music generation, music emotion controlling, deep learning, semi-supervised learning

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Authors: Ka Lei Au

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The Dalcroze method has been emerging in music classrooms, and music teachers are encouraged to integrate music and movement in their teaching. Music programs in colleges in Hong Kong have been introducing method courses such as Orff and Dalcroze method in music teaching as teacher’s education program. Since the targeted students of the course are music teachers who are making the decision of what approach to use in their classroom, their perception is significantly valued to identify how this approach is applicable in their teaching in regards to the teaching and learning culture and environment. This qualitative study aims to explore how the Dalcroze method as a teacher’s education course is perceived by music teachers from three aspects: 1) application in music teaching, 2) self-enhancement, 3) expectation. Through the lens of music teachers, data were collected from 30 music teachers who are taking the Dalcroze method course in music teaching in Hong Kong by the survey. The findings reveal the value and their intention of the Dalcroze method in Hong Kong. It also provides a significant reference for better development of such courses in the future in adaption to the culture, teaching and learning environment and teacher’s, student’s and parent’s perception of this approach.

Keywords: Dalcroze method, music teaching, perception, self-enhancement, teacher’s education

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Authors: Baoshan Wang

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The present study investigates how music theory has developed across different countries due to their diverse histories, religions, and cultural differences. It is unknown how these various factors may contribute to differences in music theory across countries. Therefore, we examine the differences between China and Greece, which have developed unique music theories over time. Specifically, our analysis looks at musical notation and scales. For example, Tonal music originates from Greece, which harbors quite complex notation and scaling. There exist seven notes in each scale within seven modes of scales. Each mode of the diatonic scale has a unique temperament, two of which are most commonly used in modern music. In contrast, we find that Chinese music has only five notes in its scales. Interestingly, a unique feature of Chinese music theory is that there is no half-step, resulting in a highly divergent and culture-specific sound. Fascinatingly, these differences may arise from the contrasting ways that Western and Eastern musicians perceive music. While Western musicians tend to believe in music “without borders,” Eastern musicians generally embrace differing perspectives. Yet, the vast majority of colleges or music conservatories teach the borderless theory of Western music, which renders the music educational system incomplete. This is critically important because learning music is not simply a profession for musicians. Rather, it is an intermediary to facilitate understanding and appreciation for different countries’ cultures and religions. Education is undoubtedly the optimal mode to promote different countries’ music theory so people across the world can learn more about music and, in turn, each other. Even though Western music theory is predominantly taught, it is crucial we also pursue an understanding of other countries’ music because their unique aspects contribute to the systematic completeness of Music Theory in its entirety.

Keywords: culture, development, music theory, music history, religion, western music

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Authors: Susan Lewis

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The assessment of learning outcomes at the program level has attracted much international interest from the perspectives of quality assurance and ongoing curricular redesign and renewal. This paper examines program-level learning outcomes in the field of music and technology, an area of study that has seen an explosion in program development over the past fifteen years. The Audio Engineering Society (AES) maintains an online directory of educational institutions worldwide, yielding the most comprehensive inventory of programs and courses in music and technology. The inventory includes courses, programs, and degrees in music and technology, music and computer science, music production, and the music industry. This paper focuses on published student learning outcomes for undergraduate degrees in music and technology and analyses commonalities at institutions in North America, the United Kingdom, and Europe. The results of a survey of student learning outcomes at twenty institutions indicates a focus on three distinct student learning outcomes: (1) cross-disciplinary knowledge in the fields of music and technology; (2) the practical application of training through the professional industry; and (3) the acquisition of skills in communication and collaboration. The paper then analyses assessment mechanisms for tracking student learning and achievement of learning outcomes at these institutions. The results indicate highly variable assessment practices. Conclusions offer recommendations for enhancing assessment techniques and better communicating learning outcomes to students.

Keywords: quality assurance, student learning; learning outcomes, music and technology

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Authors: Jinan Laurentia Woo

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This paper explores the intersection of technology, music education, and social-emotional learning (SEL) with a focus on Latin America. It delves into the impact of music education on social-emotional skills development, highlighting the universal significance of music across various life stages. The integration of artificial intelligence (AI) in music education is discussed, emphasizing its potential to enhance learning experiences. The paper also examines the implementation of SEL strategies in Latin American public schools, emphasizing the importance of fostering social-emotional well-being in educational settings. Challenges such as unequal access to technology and education in the region are addressed, calling for further research and investment in tech-assisted music education.

Keywords: music education, social emotional learning, educational technology, Latin America, artificial intelligence, music

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Authors: Farnaz Dehkhoda

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This study was conducted to compare the effectiveness of active and receptive music-therapy on anxiety in cancer patients undergoing chemotherapy or radiotherapy. 184 young adult patients, who were diagnosed with early stage cancer and were undergoing treatment, were divided into three groups. Two groups received music therapy as a parallel treatment and the third group was control group. In active music-therapy, a music specialist helped the patients to play guitar and sing. In the receptive music-therapy, patients preferred pre-recorded music played by MP3 player. The level of anxiety was measured by the Beck Anxiety Inventory as pre-test and post-test. ANCOVA revealed that both types of music-therapy reduced anxiety level of patients and the active music-therapy intervention found to be more effective. The results suggest that music-therapy can be applied as an intervention method contemporary with cancer medical treatment, for improving quality of life in cancer patients by reducing their anxiety.

Keywords: Anxiety, Cancer, Chemotherapy, Music-therapy

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Authors: Vartan Agopian

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Millions of Syrian families have been displaced since the beginning of the Syrian war, and the negative effects of post-war trauma have shown detrimental effects on the mental health of refugee children. While educational strategies have focused on vocational training and academic achievement, little has been done to include music in the school curriculum to help these children improve their mental health. The literature of music education and psychology, on the other hand, shows the positive effects of music on traumatized children, especially when it comes to dealing with stress. This paper presents a brief literature review of trauma, music therapy, and music in the classroom, after having introduced the Syrian war and refugee situation. Furthermore, the paper highlights the benefits of using music with traumatized children from the literature and offers strategies for teachers (such as singing, playing an instrument, songwriting, and others) to include music in their classrooms to help Syrian refugee children deal with post-war trauma.

Keywords: children, music, refugees, Syria, war

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Authors: Z. Kurtaslan, H. Hakan Okay, E. Can Dönmez, I. Kuçukdoğan

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Music education aims to bring up individuals most appropriately and to advanced levels as a balanced whole physically, cognitively, affectively, and kinesthetically while making a major contribution to the physical and spiritual development of the individual. The most crucial aim of music education, an influential education medium per se, is to make music be loved; yet, among its educational aims are concepts such as affinity, friendship, goodness, philanthropy, responsibility, and respect all extremely crucial bringing up individuals as a balanced whole. One of the most essential assets of the music education is the training of making music together, solidifying musical knowledge and enabling the acquisition of cooperation. This habit requires internalization of values like responsibility, patience, cooperativeness, respect, self-control, friendship, and fairness. If musicians lack these values, the ensemble will become after some certain time a cacophony. In this qualitative research, the attitudes of music teacher candidates in orchestra/chamber music classes will be examined in terms of values.

Keywords: education, music, orchestra/chamber music, values

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Authors: Kedarnath Awati

Abstract:

Some parallels between Indian Art Music and Western Art Music, such as the identity of the basic heptatonic scale structure, are quite obvious and need no further discussion. Other parallels are far less obvious, and it is one of them that the author is interested in. Specifically, the author would like to make a serious claim that in both types of music, there is an unspoken dependence on melody. Yes, it is true that the techniques that the two systems use for elaboration are very, very different: Western music uses the techniques of harmony, counterpoint, orchestration and motivic variation, while the Indian systems, both the Hindustani and the Carnatic traditions use the technique of raagdaari. The reason that this point is barely spoken about is that both in the West as well as in India, artists tend to think of melody as something elementary or as something 'given'. The Indian musicians would much rather dwell upon this or that meend or taan or other technical device, while the West thinks that melody is passé and would rather discuss the merits and demerits of spectralism and perhaps serialism. The author would like to explore this theme further in his paper.

Keywords: Indian art music, Western art music, melody, raagdaari, motivic variation.

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