Search results for: music curriculum

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: Nadezda Pizika

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The paper discusses possible approaches of embedding the development of employability skills in the program curriculum. This paper contains analysis of the problem areas raised by employers regarding new graduates’ readiness to join workforce, the ways of possible improvements, and the actions required from different stakeholders. The case discussed in the paper is related to Computer and Information Science (CIS) Program offered at Higher Colleges of Technology (UAE).

Keywords: curriculum design, employability skills, employers, graduates, education, entrepreneurship

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Authors: Godaye Gobena Gomiole

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The purpose of this study is to determine how principals at Tarcha Town Primary Schools in Ethiopia perceive their instructional leadership responsibilities in curriculum execution. The research was guided by a phenomenological study design. The data was collected through semi-structured interviews. Purposive sampling was used to include twelve principals. The study's conclusions showed that principals fall short of their duties in overseeing instruction. Setting clear objectives for the school and coordinating the curriculum receive less attention from principals. Additionally, they focus less on keeping track of students' progress. It is, therefore, advised that principals take instructional leadership and management training.

Keywords: curriculum execution, instructional leadership, practice, primary school

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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: Shantala Herlekar

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Introduction: Entrainment effect of music on cardiovascular parameters is well established. Music is being used in the background by medical students while studying. However, does it really help them relax faster and concentrate better? Objectives: This study was done to compare the effects of classical instrumental background music versus no music on blood pressure response over time and on successively performed divided attention test in Indian and Malaysian 1st-year medical students. Method: 60 Indian and 60 Malaysian first year medical students, with an equal number of girls and boys were randomized into two groups i.e music group and control group thus creating four subgroups. Three different forms of Symbol Digit Modality Test (to test concentration ability) were used as a pre-test, during music/control session and post-test. It was assessed using total, correct and error score. Simultaneously, multiple Blood Pressure recordings were taken as pre-test, during 1, 5, 15, 25 minutes during music/control (+SDMT) and post-test. The music group performed the test with classical instrumental background music while the control group performed it in silence. Results were analyzed using students paired t test. p value < 0.05 was taken as statistically significant. A drop in BP recording was indicative of relaxed state and a rise in BP with task performance was indicative of increased arousal. Results: In Symbol Digit Modality Test (SDMT) test, Music group showed significant better results for correct (p = 0.02) and total (p = 0.029) scores during post-test while errors reduced (p = 0.002). Indian music group showed decline in post-test error scores (p = 0.002). Malaysian music group performed significantly better in all categories. Blood pressure response was similar in music and control group with following variations, a drop in BP at 5minutes, being significant in music group (p < 0.001), a steep rise in values till 15minutes (corresponding to SDMT test) also being significant only in music group (p < 0.001) and the Systolic BP readings in controls during post-test were at lower levels compared to music group. On comparing the subgroups, not much difference was noticed in recordings of Indian student’s subgroups while all the paired-t test values in the Malaysian music group were significant. Conclusion: These recordings indicate an increased relaxed state with classical instrumental music and an increased arousal while performing a concentration task. Music used in our study was beneficial to students irrespective of their nationality and preference of music type. It can act as an “active coping” strategy and alleviate stress within a very short period of time, in our study within a span of 5minutes. When used in the background, during task performance, can increase arousal which helps the students perform better. Implications: Music can be used between lectures for a short time to relax the students and help them concentrate better for the subsequent classes, especially for late afternoon sessions.

Keywords: blood pressure, classical instrumental background music, ethnicity, symbol digit modality test

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Authors: Raymon Maac, Michael Arthus Muega, Joyce Ann Calingasan, Elva Maureen Gorospe

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Critical pedagogy is known for its advocacy of humanistic and liberating education. Its far-reaching approach helps students to understand and analyze their own situations and the realities happening in their society. However, this pedagogy together with its promising features is not well-known in the Philippines. This paper determines the place of critical pedagogy in the new values education curriculum and analyzes its features in the K-12 Values Education curriculum and textbook. The study examines the position of critical pedagogy in the Philippine K-12 Values Education curriculum by closely studying and comparing their features; and scrutinizes the Grade 8 Values Education textbook specifically modules 4, 8, 10 and 13 which comprises 25% of the total 16 modules. The said modules are concerned with the role of the family in the preservation of social justice, which is one of the objectives of critical pedagogy. The findings in this research were based on the pieces of evidence gathered from the curriculum and textbook itself. Based on the evaluation done, the study found out that the ideas of critical pedagogy were the same with that of the objectives of K-12 Values Education Curriculum. Due to this, values education teachers can utilize critical pedagogy in their subject. In addition, the K-12 Values Education curriculum exhibits some of the features of critical pedagogy such as authentic student empowerment and critical thinking. Lastly, some features of critical pedagogy are also evident in some of the general parts and recommended activities in the K-12 Values Education textbook while other activities need to be fully developed by both teacher and students to reflect the genuine critical pedagogy.

Keywords: authentic student empowerment, critical pedagogy, critical thinking, liberating education

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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: B. Manyonga

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Across the world, higher education (HE) is expanding rapidly and issues of curriculum change have become more contentious and political than ever before. Although research informing curricula review in social sciences and particularly sociology has been conducted, much analysis has been devoted to teaching and transmitting disciplinary knowledge, student identity and epistemology, with little focus on curriculum conceptualisation and capability formation. This paper builds on and contributes to accumulating knowledge in the field of sociology curriculum design in the South African HE context. Drawing from the principles of Capabilities Approach (CA) of Amartya Sen and Martha Nussbaum, the paper argues that sociology curriculum conceptualisation may be enriched by capabilities identification for students. Thus, the sociological canon ought to be the vehicle through which student capabilities could be developed. The CA throws a fresh light on how curriculum ought to be designed to offer students real opportunities, expanding choices for individuals to be what they want to be and do. The paper uses a case of two South African universities to present analysis of qualitative data collected from undergraduate sociology lecturers. The major findings of the paper indicate that there is no clear philosophy guiding the conceptualisation of curriculum. The conceptualisation is based on lecturer expertise, carrying out research, response to topical and societal issues. Sociology lecturers highlighted that they do not consult students on what they want to do and to be as a result of studying for a sociology degree. Although lecturers recognise some human development capabilities such as critical thinking, multiple perspectives and problem solving as important for sociology students, there is little evidence to illustrate how these are being cultivated in students. Taken together, the results suggest that sociological canon is being regarded as the starting point for curriculum planning and construction.

Keywords: capabilities approach, graduate attributes, higher education, sociology curriculum

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Authors: Wen Xu

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The expansion of Confucius institutes and Chinese as a Foreign Language (CFL) education is often considered as cultural invasion and part of much bigger, if not ambitious, Chinese central government agenda among Western public opinion. The CFL knowledge and teaching practice inherent in textbooks are also harshly critiqued as failing to align with Western educational principles. This paper takes up these concerns and attempts to articulate that Confucius’s idea of ‘education without discrimination’ appears to have become synonymous with social justice touted in contemporary Australian education and policy discourses. To do so, it capitalises on Bernstein's conceptualization of classification and pedagogic rights to articulate CFL curriculum's potential of drawing in and drawing out curriculum boundaries to achieve educational justice. In this way, the potential useful knowledge of CFL constitutes a worthwhile tool to engage in a peripheral Western country’s education issues, as well as to include disenfranchised students in the multicultural Australian society. It opens spaces for critically theorising CFL curricular justice in Australian educational contexts, and makes an original contribution to scholarly argumentation that CFL curriculum has the potential of including socially and economically disenfranchised students in schooling.

Keywords: curriculum justice, Chinese as a Foreign Language curriculum, Bernstein, equity

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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: Bingqing Chen

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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

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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

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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

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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: Angela Obose Oriazowanlan

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Despite the introduction of Entrepreneurship education into the Nigerian University curriculum to prepare graduates for self-employment roles in order to abate employment challenges, their unemployment rate still soars high. The study, therefore, examined the relevance of the curriculum contents and its delivery mechanism to equip graduates with appropriate entrepreneurial skills prior to graduation. Four research questions and two hypotheses guided the study. The survey research design was adopted for the study. An infinite population of graduates of a period of five years with 200 sample representatives using the simple random sampling technique was adopted. A 45-item structured questionnaire was used for data gathering. The gathered data thereof was anlysed using the descriptive statistics of mean and standard deviation, while the formulated hypotheses were tested with Z-score at 0.5 level of significance. The findings revealed, among others, that graduates acquisition of appropriate entrepreneurial skills for self-employment generation is low due to curriculum deficiencies, insufficient time allotment, and the delivery mechanism. It was recommended, among others, that the curriculum should be reviewed to improve its relevancy and that sufficient time should be allotted to enable adequate teaching and learning process.

Keywords: evaluation of entrepreneurship education (EE) curriculum, self-employment generation, graduates of tertiary institutions, Edo state, Nigeria

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Authors: Pairah Bte Satariman

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This study is carried out to evaluate Malay Language Curriculum for secondary schools in Singapore. The evaluation focuses on the implementation of Spoken Interaction Skill which was recommended by the Curriculum Review Committee in 2010. The study found that the students face difficulty in communicating interactively with others in their daily activities. The purpose of the study is to evaluate the results (products) on the implementation of this skill since 2011. The research used a qualitative method which includes oral test and interview with students and teachers teaching the subject. Preliminary findings show that generally, the students are not able to communicate interactively and fluently in the oral test unless they are given enough prompts. The teachers feel that the implementation of the skill is timely as students are more keen to use English in their daily communication even in Malay Language Classes. Teachers also mentioned the challenges in the implementation such as insufficient curriculum time and teaching materials.

Keywords: evaluation, Malay language curriculum, spoken interaction skills, communication, implementation

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Authors: Eun-Young Yoon

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The purpose of this research is to examine how unification with North Korea is being taught in South Korea classrooms. To analysis of the curriculum and textbooks about unification in South Korean classroom, this study uses nationalism and multiculturalism as major theoretical frameworks. Major findings show that curriculum and textbooks should describe unification with North Korea more detailed and complicated. And the balancing between ‘global citizenship’ and ‘national identity’ is needed.

Keywords: global citizenship, multiculturalism, nationalism, unification education

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Authors: Salem B. Abdalla

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This study investigated the current Building Information Modelling (BIM) trends and practices in the UAE, particularly to shed light on a recently circulated Dubai BIM mandate. Two sets of surveys were mailed to the AEC industry and the corresponding academic sector within the UAE to collect up-to-date data on BIM awareness and utilization. The surveys showed startling results concerning the academic sector in the UAE where almost 70% of respondents were not aware of the BIM mandate. Among the rest, even when aware, the majority of mechanical and electrical engineering schools felt that BIM is not pertinent to their discipline. Therefore, the response to offering BIM in their curriculum was substantially low (35%). On the other hand, the industrial survey identified a large majority (76.5%) of the AEC industry in the UAE are using BIM. The results clearly indicate that the academia should include BIM in their curriculum to produce qualified graduates to support the market. However, the academia is also faced with several obstacles to implement BIM in their curriculum, where the main pretext is that there is “no room for new courses in existing curriculum”.

Keywords: building information modeling, BIM adoption, UAE BIM industry survey, UAE BIM academia survey, Dubai BIM mandate, UK BIM mandate, BIM education, architecture education, engineering schools, BIM implementation, BIM curriculum

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Authors: Jagannath P. Tegar

Abstract:

The new National Education Policy (NEP) 2020 of Govt. of India has envisaged a major overhaul of the education system of India, in particular, the revamping of the Curriculum of Higher Education. In this process, the faculty members of the Indian universities and institutions have a challenging role in developing the curriculum, which is a shift from the traditional (content-based) curriculum to a student-centric- outcome-based Curriculum (SC-OBC) to be implemented in all of the Universities and institutions. The efforts and initiatives on the design and implementation of SC-OBC are remarkable in the engineering and technical education landscape of the country, but it is still in its early stages and many more steps are needed for the successful adaptation in every level of Higher Education. The premier institute of Govt. of India (NITTTR, Bhopal) has trained and developed the capacity and capability among the teachers of Polytechnics on the design and development of Student Centric - Outcome Based Curriculum and also providing academic consultancy for reforming curriculum in line of NEP- 2020 envisions for the states such as Chhattisgarh, Bihar and Maharashtra to make them responsibly ready for such a new shift in Higher Education. This research-based paper is on three main aspects: 1) the level of acceptance and preparedness of teachers /faculty towards NEP-2020 and student-centred outcome-based learning. 2) the extent of implementing NEP-2020 and student-centered outcome-based learning at Indian institutions/ universities and 3) the challenges of implementing NEP-2020 and student-centered outcome-based learning outcome-based education in the Indian context. The paper content will inspire curriculum designers and developers to prepare SC-OBC that meets the specific needs of industry and society at large, which is intended in the NEP-2020 of Govt. of India

Keywords: outcome based curriculum, student centric learning, national education policy -2020, implementation of nep-2020. outcome based learning, higher education curriculum

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Authors: Raghavi Janaswamy, Saraswathi K. Vasudev

Abstract:

Music is one of the supreme arts of expressions, next to the speech itself. Its evolution over centuries has paved the way with a variety of training protocols and performing methods. Indian classical music is one of the most elaborate and refined systems with immense emphasis on the voice culture related to range, breath control, quality of the tone, flexibility and diction. Several exercises namely saraliswaram, jantaswaram, dhatuswaram, upper stayi swaram, alamkaras and varnams lay the required foundation to gain the voice culture and deeper understanding on the voice development and further on to the intricacies of the raga system. This article narrates a few of the Carnatic music training methods with an emphasis on the advanced practice methods for articulating the vocal skills, continuity in the voice, ability to produce gamakams, command in the multiple speeds of rendering with reasonable volume. The creativity on these exercises and their impact on the voice production are discussed. The articulation of the outlined conscious practice methods and vocal exercises bestow the optimum use of the natural human vocal system to not only enhance the signing quality but also to gain health benefits.

Keywords: Carnatic music, Saraliswaram, Varnam, vocal training

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Authors: Chante J. De Klerk

Abstract:

The potential of music to facilitate superior performance during high to elite level gymnastics conditioning instigated this research. A team of seven gymnasts completed a fixed conditioning programme eight times, alternating the two variable conditions. Four sessions of each condition were conducted: without music (session 1), with music (session 2), without music (3), with music (4), without music (5), and so forth. Quantitative data were collected in both conditions through physiological monitoring of the gymnasts, and administration of the Situational Motivation Scale (SIMS). Statistical analysis of the physiological data made it possible to quantify the presence as well as the magnitude of the musical intervention’s impact on various aspects of the gymnasts' physiological functioning during conditioning. The SIMS questionnaire results were used to evaluate if their motivation towards conditioning was altered by the intervention. Thematic analysis of qualitative data collected through semi-structured interviews revealed themes reflecting the gymnasts’ sentiments towards the data collection process. Gymnast-specific descriptions and experiences of the team as a whole were integrated with the quantitative data to facilitate greater dimension in establishing the impact of the intervention. The results showed positive physiological, motivational, and emotional effects. In the presence of music, superior sympathetic nervous activation, and energy efficiency, with more economic breathing, dominated the physiological data. Fatigue and arousal levels (emotional and physiological) were also conducive to improved conditioning outcomes compared to conventional conditioning (without music). Greater levels of positive affect and motivation emerged in analysis of both the SIMS and interview data sets. Overall, the intervention was found to promote psychophysiological coherence during the physical activity. In conclusion, a strategically constructed musical intervention, designed to accompany a gymnastics conditioning session for high to elite level gymnasts, has ergogenic potential.

Keywords: arousal, fatigue, gymnastics conditioning, motivation, musical intervention, psychophysiological coherence

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Authors: Kalpana Singh, Nikita Katiyar

Abstract:

This research investigates the impact of Raga Bhairavi, a prominent musical scale in Indian classical music, on the mood and basic physiological parameters of research scholars at the University of Lucknow - India. The study focuses on the potential therapeutic effects of listening to Raga Bhairavi during morning hours. A controlled experimental design is employed, utilizing self-reporting tools for mood assessment and monitoring physiological indicators such as heart rate, oxygen saturation levels, body temperature and blood pressure. The hypothesis posits that exposure to Raga Bhairavi will lead to positive mood modulation and a reduction in physiological stress markers among research scholars. Data collection involves pre and post-exposure measurements, providing insights into the immediate and cumulative effects of the musical intervention. The study aims to contribute valuable information to the growing field of music therapy, offering a potential avenue for enhancing the well-being and productivity of individuals engaged in intense cognitive activities. Results may have implications for the integration of music-based interventions in academic and research environments, fostering a conducive atmosphere for intellectual pursuits.

Keywords: bio-musicology, classical music, mood assessment, music therapy, physiology, Raga Bhairavi

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Authors: Amin Khaksar

Abstract:

The popular music scene is a highly speculative field of cultural production in which eroticism plays an essential role in attracting audiences. The juxtaposition of eroticism and cultural products possibly implies the importance of the representation of cultural values in popular music videos. As with norms in conservative societies, however, there are some types of inequalities, most of which are dominated by institutional inclinations as opposed to socio-cultural inclinations. This paper explores the challenges that increasing structural inequality poses to erotic representations, focusing on Iranian popular music videos. It outlines how eroticism is becoming a leading tool for circumventing institutional inequalities that affect some cultural values. Using the value-based approach, which draws on visual semiotics and content analysis of Iranian popular music videos compared to Western popular music videos, this study contends that the problematic nature of eroticism emerges when sexual representation takes on meaning beyond its commercial purpose. Indeed, erotica has more to say about freedom, social violence, gender discrimination, and, most importantly, values that can be shared and communicated. The concept of eroticism used in this study functions as a shared practice and can be perceived through symbols. Furthermore, the conclusions show that music artists (performers) use eroticism in three ways to represent cultural values: erotic performances, erotic qualities, and erotic narratives. The expected contribution highlights the role that eroticism can play in the encounter with institutional inequality and injustice. Consider a female celebrity whose erotic qualities help her body gain attention.

Keywords: inequality, value- based economics, eroticism, popular music video

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Authors: Man-Ching Yu

Abstract:

In Chinese music, pentatonic collection is central in constituting all the harmonic and melodic elements; most of the traditional Chinese musicians particularly emphasize the importance of the smoothness between pentatonic collections when one collection modulates to another collection, articulating the roles of the pentatonic common tones. On the contrary, in post-tonal Chinese music the central features of the pentatonic modulations tend to reflect a larger number of semitonal relationships with a lesser number of common tones. This paper offers an analytical account of the transformations between pentatonic collections that arise in post-tonal Chinese music by adopting the methodology of the Tonnetz, in particular, Dual Interval Space (DIS), to elaborate and reexamine pentatonicism by focusing on the transformations between pentatonic elements, especially semitonal motion and common tones. In the essay, various pentatonic passages will be analyzed by means of DIS for highlighting the transformation of the collections. It will be shown that the pentatonic collections that are in semitonal, third, and augmented fourth relationships exhibit the maximum number of semitonal shifts.

Keywords: tonnetz, pentatonicism, post-tonal Chinese music, dual interval space, transformation

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Authors: Rewadee Ungpho

Abstract:

The research on the musical culture of Sea Gypsies in Bulon archipelago, Satun Province, is considered as an anthropology research. Research objectives were to study the history and information culture and also to find the basis information for the restoration and preservation of the music culture of Sea Gypsies who live in Bulon archipelago. Findings of the research are as follows: 1) Musical characteristics of Sea Gypsies in Bulon archipelago is still traditional. It does not mix with any external musical influence such as musical instruments, language, and other musical characteristics. There are various kind of songs which can play a complete melody and rhythm, including a total of 8 songs as follows; Lagu-Ayam-Dide, Lagu-Sitipayong, Lagu-Bulong-pute, Lagu-Chemamat, Laguduwo, Lagu-Ma-I-nang, Lagu-Mana-Ikan. 2) The roles of culture/music in Bulon archipelago correlate with Urak Lawoi society. They use music in the ceremony of votive offering, in the floating ceremony held in Lipe Island and in various festivals. Therefore, music is a spiritual sacrifice and a spiritual instrument that conveys an Urak Lawoi, which makes the Urak Lawoi still unique and has a sense of ethnic identity. 3) The inheritance of Urak Lawoi music is still being made in a traditional way, as an oral tradition with no record. The teaching and learning must be one on one, and it required length of time to practice and accumulate the knowledge. Due to above mentioned reasons, a few people attend in the inheritance. Those who are interested may not be able to practice constantly. As a result, there is only a few, or even none, descendants left.

Keywords: sea gypsy, music, Bulon archipelago, ethnomusicology

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Authors: Hanane Sarnou, Sabri Koç

Abstract:

In this paper, the interconnection between curriculum development for basic education and the use of information and communication technologies (ICTs) in the classroom referring to the Licence, Master's and Doctorate (LMD) benefits under such link will be presented and analysed. This study seeks to achieve to what extent LMD, competency-based approach (CBA) and ICTs use are interrelated. Likewise, the data collected from the responses of our teachers and learners who are concerned with LMD impact on their learning and teaching through interviews will be discussed, analysed, and classified. This paper is divided into two sections. The first section is about the curriculum development for basic education and its relation with higher education under the LMD and its link with ICTs in the university while the second section is about the classification of learners’ and teachers’ positive/negative responses concerning their positive or negative attitudes towards the ICT integration. The focus will be on the positive aspects of students’ expectations, opinions and assumptions regarding the integration of ICTs into the classroom under LMD and CBA.

Keywords: LMD system, CBA approach, curriculum development, ICT

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