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The creation of the work "kemepyar" is a response to the typical archipelago food containing many spices, one of which is soto. Soto is made from a variety of spices and spices from all corners of the country, be it in the form of tubers, leaves, grains, and so on. The mixture of various Indonesian spices produces a distinctive taste and makes the body feel warm and fit. This was used as an inspiration for the creation of the artwork entitled Kemepyar. Kemepyar itself is a term used by the Javanese people to describe a situation that is very bright, clear, warm, satisfying, satisfied, and delicious in enjoying a dish of food or drink with a fresh taste. The musical idea of the work comes from Javanese gamelan and Macapat dhandang gula. Musical idioms use Javanese, Balinese, Kalimantan, and Sumatran karawitan. Meanwhile, the medium of cultivation uses gamelan, swipe instruments, saxophone blowing instruments, and tambourines. The purpose of creating this work is as a form of response to the social environment, in this case the diversity of spices/spices used in soto dishes as a representation of ethnic diversity and traditional music in Indonesia. This work is useful as a stimulus for Music Composition students to create works derived from the phenomenon of daily life, in this case food. The method of creation was chosen to realize the phenomenon of food diversity of soto spices into the form of musical works. The creation process consists of initial stimulation, idea emergence, exploration, improvisation, formation, and presentation. [ABSTRACT FROM AUTHOR]

The article explores the musical heritage of the Caucasian (Mountain) Jews in relation to the waves of their historical migration to the Caucasus. The author substantiates the genetic code (‘the rhetoric of lamentation’) of the traditional oral-professional music of the Near East region, rooted the 2500-year history of Mesopotamian laments with a complex of musical expression means. The most ancient type of responsive female singing of unmeasured melodies eme-sal was formed on the basis of the genre of laments in the syncretic rituals of the temple cities of the Mesopotamian civilization. It influenced the biblical laments and acquired new contexts after the ArabMuslim expansion in the art of maqām and the mystery of ta‘żīaẗ. The article presents the variants of expression of the rhetoric of lamentation in the traditional music in the juhūrī language. The author analyses the key concepts and describes the mechanism of retaining past events in memory through the giryo concept, which endlessly reproduces the idea of gathering the scattered people in the land of Israel. The assumption is made about the uniform character of the intonation of liturgical texts in the Caucasian and Yemenite Jewish communities.

This article is an introduction to the problem of systematizing the traditional music of Jews in relation to the historical waves of their migration to the Caucasus. The author analyzes two contrasting rhetorics in Russian pre-revolutionary and contemporary ethnography related to the question of the collective memory of Caucasian (Mountain) Jews. It is established that the historical change of argumentation contexts is conditioned not only by the problem field of the humanities but also by the universalist approach, the basic tools of which are the categories of ‘the general’ and ‘the specific’. It is obvious that the way to understand the ‘other’ culture of Caucasian and, more broadly, ‘Eastern’ Jews lies through the acceptance of the variability of meaning-making, which implies the researcher’s going beyond the intuitions of European Jewish communities. The methodological and practical advantages of the logical and semantic approach (the principle of ‘same but different’) are shown. The article appeals to the rare Russian and foreign ethnographic publications and maps of the 18th-20th centuries.

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El tiple es el instrumento nacional colombiano y es, dentro de los formatos tradicionales, el más representativo de los instrumentos de la región andina colombiana. Actualmente, el tiple ocupa distintos espacios de formación, que van de los más académicos hasta hacer parte de una cultura de aprendizaje informal como puede ser la virtual. El presente estudio aporta una mirada a los espacios virtuales de enseñanza-aprendizaje musical a partir del análisis de videos de YouTube para el aprendizaje del tiple. Con esta finalidad, se seleccionaron 24 videos tutoriales enfocados a la transmisión de contenidos para el aprendizaje de este instrumento. Mediante un análisis de su contenido, se encuentran resultados que muestran concordancia con categorías propias de la enseñanza del tiple tanto de contextos formales como informales. Asimismo, la modalidad virtual propone algunos aspectos de la cultura de aprendizaje informal que plantea preguntas sobre la intención docente, la posible recepción y el impacto en términos de aprendizaje de los recursos didácticos utilizados para la enseñanza del instrumento. A su vez, el artículo brinda una visión poco estudiada de la enseñanza del tiple colombiano. The "tiple" is the Colombian national instrument and, within the traditional formats, the most representative of the musical instruments of the Colombian Andean region. The "tiple" is taught in several contexts: from academic strategies to the informal learning culture, including on-line learning. This study glances at on-line learning and asynchronous musical teaching-learning methods, based on the analysis of YouTube videos for learning the "tiple". For this purpose, 24 tutorial videos for learning this instrument were selected. Through analysis of its content, results show agreement with categories typical of teaching the tiple, both in formal contexts and informal contexts. Likewise, from the analysis of the on-line learning, some aspects of this informal learning culture raise questions about the intention of the teacher or the learning object, the possible reception, and the impact of the didactic resources used in teaching the tiple within this context. At the same time, it offers a vision less studied field of the teaching of the Colombian tiple. [ABSTRACT FROM AUTHOR]

The composition titled “Berlagu Semalam” created by Alwagera, gained widespread recognition via social media in April 2023 and was prominently featured in the Malaysian Petronas Raya advertisement. Observing social media platforms reveals that the song received positive and uplifting feedback from most of the public, who emphasized its profound and emotionally stirring impact. This article critically evaluates the distinctive and impactful elements of the composition, encompassing aspects such as lyrics, song structure, musical instruments, melody, and the singer’s vocal performance. The song’s primary uniqueness lies in its adept fusion of traditional elements (langgam asli), employing authentic stylistic elements, with contemporary music, specifically in the form of a pop ballad. The song carries implicit values beneficial not only for the younger generations but for individuals across various age groups.

This study aims to describe and explain how community resilience needs to be leveraged during the spread of COVID-19 with traditional music ‘Karawitan’. This study uses a hermeneutic phenomenological approach. The research was conducted for 26 months in Sodong, Gelangkulon Village, Sampung District, Ponorogo Regency, East Java Province, Indoensia. The research data was taken by interview, observation, and document recording techniques and then analyzed using interactive model qualitative analysis techniques. The results showed that the traditional music ‘Karawitan’ played a major role in building the resilience of the Sodong Buddhist Village community in facing the Covid-19 pandemic. Traditional music ‘Karawitan’ communicates various matters relating to the Covid-19 pandemic and strategies to deal with it. Pengrawit, in routine and incidental rehearsals, presents songs with light, happy rhythms (slendro), containing religious, social, human and health values. Those songs not only presented but also explained (air). The traditional music ‘Karawitan’ also held peduli sasama and distributed them. These activities make community members able to eliminate psychological pressure and be able to adapt, be optimistic, and be able to survive in the face of the Covid-19 pandemic.

During the last decade, the Syrian crisis has, in various ways, imposed many fundamental changes upon Syrian society. It has pervaded cultural issues at large with a major effect on education. Ideologies, schooling, mass media, human relationships, and mutual understanding, all have been the target of fierce upheaval. This article examines the question of how much this crisis has affected the music education system, especially for children, who are its silent victims. Is there a big difference in music education and its delivery prior to 2011 and since? Which methods do teachers now have to use when they teach and how much are these methods far and free from politics? Does music serve special goals and ideologies? To answer these questions, I wrote a short historical review about the Syrian education system, and interviewed three music teachers who studied in and currently work in Syria for the purpose of obtaining their feedback of the status of teaching/learning music in Syria. To document and support my work I included and analyzed some publicly available videos. The aim of this research work was to investigate to what extent the music curricula are appropriate for primary education especially in this time of crisis; and ascertain whether they resonate with Syrian children's conditions and provide some positive influence during the difficult time that the country current experience. [ABSTRACT FROM AUTHOR]

Transmitting traditional music for sustainability has been a common theme in global music education. Recently, the school systems of Hong Kong and Guangdong have been encouraged by governmental authorities to teach Cantonese opera aiming at enhancing the sustainability of the genre and promote a Chinese cultural identity within students. This paper details a survey of school music teachers working in Hong Kong and Guangdong examining the current state of Cantonese opera teaching in the schools of both regions and investigate how it is affected by teacher variables including their interest in Chinese opera, the confidence in teaching the subject, and their perceptions of their Chinese cultural identities. A total of 1,974 valid questionnaires were received and examined. Descriptive and inferential statistics including MANOVA and chi-square tests were used to analyze the data. Findings reveal that Cantonese opera teaching is limited in both regions. While teachers are modestly interested, confident, and knowledgeable about teaching the genre, there is a significant relationship between the music backgrounds of teachers and their interest in Cantonese opera. The article discusses the findings within the context of a historical predominance of Western music within music education curricula and wider societies. Implications for policy makers are proposed. [ABSTRACT FROM AUTHOR]

Language is often used to demonstrate group membership and to establish cultural identity. When the language is not readily available or is at risk, individuals tend to turn to other markers to develop their cultural identity. Using Leximancer for thematic and conceptual analyses of interviews with ten accomplished musicians in Nova Scotia, Canada, we argue that the commitment to learning music and dance may act as a channel to learning Scottish Gaelic, a threatened local heritage language. Drawing on Norton's construct of investment in language learning, we consider the extent to which participants commit to learning the language and the music/dance for their identification to the Gaelic culture. Given that Gaelic music and dance traditions remain healthy, even as the language is declining, the results of our research have significant implications for language revitalisation efforts. [ABSTRACT FROM AUTHOR]

Traditional music is an important component of cultural heritage. However, studies have scarcely explored the tourism development potential and the obstacle factors of traditional music. This study takes Xiangxi as the research site, constructs an evaluation index system, and utilizes survey and geographical methods. The major research results are as follows: First, the average potential of resource endowment, tourism industry development, and socio-economic conditions are 0.28, 0.36, and 0.24, respectively. The potential of resource endowment is higher in the west and lower in the east, that of tourism industry development is higher in the north and south and lower in the center, and that of socio-economic conditions is higher in the south and lower in the north. Second, the comprehensive potential is 0.29, which is higher in the northwest and southwest regions. Coordination in most administrative units is at a medium level, and most regions have obvious advantages in resource endowment. Third, the primary obstacle factor is socio-economic conditions (39.21%), followed by resource endowment (30.73%) and tourism industry development (30.06%). The administrative units can be classified into four groups: socio-economic condition obstacle, resource endowment and tourism industry development obstacles, resource endowment and socio-economic condition obstacles, and tourism industry development and socio-economic condition obstacles. The highest priority goals for Xiangxi involve economic development and the integration of modern technologies to stimulate passenger flow. For regions with limited traditional music items (eastern area of Xiangxi), tourism development should be restrained and other resources with stronger inherent advantages should be exploited. This study explored the quantification of traditional music tourism potential, representing a novel breakthrough in this field of research. The indicator system and research methods used in this study can provide guidance and methodological references for cultural heritage research. The suggestions proposed in this article contribute to the rational development and effective protection of cultural heritage resources and the healthy development of the tourism industry. [ABSTRACT FROM AUTHOR]

People's lives tend to the outside world, leading to the waning of cultural preservation values due to the ease with which foreign cultural influences enter and threaten the existence of local culture. To avoid the decline of the younger generation's interest in traditional art, it is necessary to carry out an idea of preservation through education, in this case, social studies subjects at school. This study aims to analyze the relationship between traditional art and social studies as a learning resource. The traditional art discussed in this study is panting music which is traditional arts in South Kalimantan. This is done to get a pattern for preserving traditional arts through social studies subjects. The research method used is qualitative. Data collection is done through observation, interviews, and documentation. Informant this research panting music players, and social studies teachers. The various data obtained are then reduced, presented, and then concluded. The researcher triangulated and extended the observations. The study's results confirmed panting music performance activities could be packaged as social studies learning resources. This is done by integrating class VII textbooks on the theme of cultural and ethnic diversity in the Indonesian traditional musical. [ABSTRACT FROM AUTHOR]

The subject of this research is the existence of a correlation between two significant variables, namely students' assessments of traditional folk music and knowledge in this area, but also between crossed variables of assessments of different components. The research was conducted on a sample of N=205 fifth-grade students from three elementary schools in Banja Luka. Research has shown that students' assessments and knowledge are related in almost all parameters, except folk instruments and composers, whose correlation is not statistically significant. Also, the hypothesis that there is a connection between all parameters of assessments of folk music tradition (traditional folk songs, folk instruments, musical dances) as well as with popular children's songs was fully confirmed. Actively dealing with traditional musical content as well as new research will shed light on the importance of the presence of folk music tradition in elementary schools.

Despite the passage of time, traditional music continues to hold importance as a source of creativity for new generations. It is an important component of the spiritual history of the human race. This research aims to ascertain the opinions of preschool teachers regarding the influence of traditional music on young children's social and emotional development. The sample consisted of 164 preschool teachers employed in preschool institutions in the Republic of Serbia and the Republic of Croatia. The Student's Social and Emotional Competences Scale (SSEK) (Jeremić et al. 2015) was used as an instrument, adapted for this research. The findings showed that preschool teachers concur that teaching preschoolers traditional music affects their ability to develop their social and emotional skills. Preschool teachers implement traditional music in their educational work, and those who do so more often assess the influence of traditional music on the social and emotional development of children as more prominent. This research implies a need for future research on the frequency and modalities of implementing traditional music in preschools to benefit the development of children.

Malaysian music was influenced by British, Portuguese, Indian, and Chinese cultures, which created syncretic music. Aesthetics values strengthen the existence of syncretic music by molding taste and interest among the listeners. It somehow creates various feelings whether to appreciate, accept, or against the music, further developing musical preferences among individuals. Exploring aesthetic values in popular and traditional music is crucial as many cultures have influenced Malaysia due to colonization, trading, wedding, and migration. This paper reviews on Malaysian syncretic music, the aesthetic values in Malaysian popular and traditional music, and the influence factors of Malaysian music. It is found that there was a confluence of various intercultural musical elements in the early era, while assimilation has taken place due to traditional Malay rhythmic patterns and traditional folk themes. This led to the Malaysian conception of music and musical composition, creating the idea that Malaysian music has drastically expanded its artistic resources since the pre-colonial era. We also found communities living in the pre-modern or modern era have different unique taste in the aesthetic characteristics. Despite this, most remote communities are compelled to participate in postmodernity in some way due to the globalization of media, capital, and mobile networks. These combinations result in many theories, concepts, and discourses that enrich aesthetic values in Malaysian syncretic music.

Popular music in Nigeria has risen and gained more attention among the people because of its potency to accentuate the culture and tradition of the people, and still be relevant to trend and current musical development across the nation. Enough scholars have studied popular music in Nigeria, but not much scholarly work has been done to investigate ethnic-based popular music among the Ekiti, southwestern Nigeria. Using the ethnic identity theory, this paper engages the oral interview, observation, and discography method. To this effect, the paper set out to bring to limelight the impact of traditional music in the development of an ethnic-based popular music among the Ekiti. It is hoped that this work, being the first extensive study on ethnic-based popular music in Ekiti, will serve as a reference point for further studies on Elemure Ogunremi’s music, and ethnic-based popular music in Ekiti, in terms of what influences it, its socio-cultural effects, and its characteristics.

Copyright of Ethnomusicology Research Centre Journal / Ethnomusikologion is the property of Academy of Music Gheorghe Dima (Musicology Papers) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sorathi folk music is a vital component of Sikkim's cultural identity and is only one of the many traditional art forms that make up the state's rich cultural history. However, there is a critical need to maintain and protect this musical culture in light of the digital era and shifting societal dynamics. The purpose of this dissertation is to examine the difficulties associated with maintaining Sorathi traditional music in Sikkim and to provide practical solutions to ensure its survival in the digital age. This case study focuses on Sikkim, a state renowned for its cultural richness, and the preservation of Sorathi folk music. Traditional art forms encounter difficulties with continuity and preservation in the digital era. Folk music from the Sorathi region of India is of great cultural significance since it is so ingrained in the life of the Sorathi people. The project examines how technology and digital platforms might be used to record, preserve, and spread this musical history. It looks for ways to get young people interested in and supportive of Sorathi folk music. The report provides information about programs including community engagement, online archives, and digitization. It attempts to advise on how to keep conventional artistic traditions alive across the world. The instance of Sikkim's Sorathi folk music emphasizes the significance of utilizing technology while upholding tradition to preserve cultural heritage in the digital era. [ABSTRACT FROM AUTHOR]

Wind band has a deep and long-lasting connection to folk-song sources. Societal expectations around music choices and sources are changing, including calls to diversify repertoire and eliminate traditional songs that include offensive language and stereotypes. Concerns about music usage in relation to cultural appropriation are also being amplified. How will teachers, composers, and publishers of band music respond to these calls for change? [ABSTRACT FROM AUTHOR]

Many folklorists have analyzed traditional carols and caroling over time, but most of them focused on the development of the custom or on the morphology of carols. In this article we will present the various interpretative formulas that we encountered during a folklore gathering session in the southern area of the Apuseni Mountains: men’s group, mixed group, individual performers, and children’s group. Each formula has interpretative particularities, with some formulas being constituted only for the purpose of communicating carols, despite not being encountered in the practice of caroling. The importance of each formula is presented with arguments, together with an exemplary sample of carols performed.

This paper digs out the corresponding influencing factors by defining the traditional music communication effect. For research purposes, the questionnaire is analyzed to analyze the impact of traditional music communication from an Internet perspective. Two distribution methods, online and offline, are used to collect research data. The data are analyzed based on the Pearson correlation coefficient and multiple regression model, after testing the reliability of the questionnaire. The music form scored the highest, with a mean of 20.70 and a standard deviation of 12.09, and it had the greatest influence on the traditional music dissemination process. There is a significant positive correlation between music content, music form, creator, communicator, audience, and communication media and traditional music communication effect, P

Traditional music is an important carrier for the development and dissemination of Chinese culture, and this paper aims to use multimedia technology to broaden the inheritance of traditional music and put forward the modernized inheritance of traditional music. In order to solve the limitation of time and space of this inheritance mode, it is proposed to utilize the main melody extraction technology of MIDI music to extract and identify the humming melody for the inheritance mode of traditional music. To facilitate the creation and retrieval of traditional music, a traditional music humming retrieval system based on the CHMM model has been designed by improving the HMM model based on score and audio training. Set the neural network model’s parameter values and bound values and use the multimedia system in teaching to test its effectiveness. The algorithm in this paper stabilizes the extraction error value for MIDI music melody at a value between 0.10 and 0.18. Combined with the school’s use of multimedia inheritance technology for traditional music, more than 70% of the students think that the teaching of traditional music using modern multimedia technology is very good. Only 0.01685 students expressed uncertainty about the significance of multimedia in traditional music teaching. The evolution of multimedia technology in traditional music transmission is evident.

In the era of informationization, the inheritance and development of traditional music are facing challenges and opportunities. This study analyzes the problems faced by teaching the basic theory of traditional music and proposes a coping strategy for constructing an interactive teaching model and platform for informatization. In the interactive teaching model, P2P technology is used to design and construct the interactive behavior model and interest analysis module, and fuzzy theory is used to precisely set the key information weights. The informationized teaching platform is designed with AI technology, adopting the recommendation strategy of a hybrid recommendation model combined with collaborative filtering, using cosine similarity to calculate the content similarity, and combining with artificial intelligence technology to realize music teaching quality assessment. In the traditional music basic theory teaching practice, S High School is used as a practice site, and experimental and control classes are set up to conduct teaching. The experimental class perceived negative behaviors such as “harshness” and “dissatisfaction” as lower than the control class, and the pass rate and excellence rate of the post-test of traditional music basic theory reached 92.5% and 36.9%, respectively. The mean values of all other music core literacy dimensions except for knowledge of opera and general knowledge of musical instruments were higher than those of the control class, showing significant differences (P

Traditional music encapsulates the profound historical wisdom and cultural imprints of a nation, representing an invaluable asset within the enduring heritage of its people. It also serves as an essential resource for music education in higher education institutions. This study aims to delineate the methodologies for the productive incorporation of traditional music into the music curricula of colleges and universities. Utilizing a questionnaire survey, this research examines the current practices of integrating traditional music into academic settings while concurrently identifying and analyzing prevalent challenges encountered in this endeavor. A factor analysis was conducted to extract the principal components from the identified challenges, providing a structured understanding of the influencing factors. The findings from this study suggest that the primary determinants impacting the integration of traditional music into university music programs include the pedagogical approaches of educators, the educational environment, and the prevailing campus culture. Furthermore, the study proposes several effective strategies for the integration of traditional music into music education, which include fostering emotional connections with the music, emphasizing scientifically backed vocal techniques, and incorporating exemplary cases into the curriculum. These strategies aim to enhance the educational experience and cultural appreciation among students, thereby enriching the music education landscape in higher educational settings.

With the development of information technology, music teaching methods are getting more affluent and more prosperous. This paper proposes a model for emotion classification and assessment that integrates traditional music culture elements with information technology in music teaching. The research first combines TextCNN and BiLSTM algorithms to establish the emotion classification model of conventional music. Then it combines PYIN and DTW algorithms to establish the evaluation model of traditional music, which completes the auxiliary efficacy of music informationized teaching. In the emotion classification test of the model, the classification accuracy and F1 value of emotions of different music samples are 82.98% and 75.22%, respectively. The model’s recognition accuracy of the four voices is 86.76%, and the overall effective scoring percentage is 81.98% under different playing abnormalities. This study has had an impact on traditional music evaluation. The model in this paper can be used to classify and evaluate emotions in conventional music, providing more intelligent and high-quality technical services for integrating traditional music into music teaching.

This study proposes an intelligent teaching model for music that incorporates traditional music culture and scientifically evaluates learning outcomes through a simulated annealing algorithm. The algorithm determines the initial temperature by adaptive function transformation, which enhances its applicability and generalization. The music intelligent teaching model is applied in actual teaching and data are collected by comparing and analyzing the learning outcomes of two parallel classes using questionnaires and statistical methods. The results of the experiment showed that the mean scores of the students in the experimental class were significantly better than those of the control class in terms of linguistic intelligence (P=0.042) and musical intelligence (P=0.003), indicating the effectiveness of the teaching model. The most significant advantage of the model is that it allows students to learn anytime, anywhere, free from the constraints of time and space, which amounted to 60.8%. However, its main limitation was the tonal differences in digital course recordings. Overall, this study provides new ideas and methods for intelligent teaching of music integrating traditional cultural elements, which is of great significance for improving the quality of education.

In this study, Gaussian mixture model preprocessing and histogram of orientation gradient (HOG) and histogram of optical flow direction (HOF) action feature extraction techniques are used to significantly optimize the accuracy of dance performance action recognition. In addition, the VNect pose estimation algorithm and dual-stream 3D-CNN-based skeleton action recognition are used to improve significantly the accuracy and efficiency of recognition. In terms of music feature recognition, this study utilizes short-time time domain and frequency domain analysis techniques and BP neural networks to effectively achieve accurate recognition and sentiment classification of music features. Analyzing a dataset containing 6000 training videos, 800 validation videos, and 1200 test videos, the study reveals that musical elements, melody, rhythm, emotional tone, and song style significantly impact the stage performance effect. The study not only highlights the importance of traditional Chinese music in dance performance to enhance the artistic effect and deepen the emotional expression, but also opens up new perspectives and methods for disseminating and developing traditional culture.

This article explores the application of digital information technology in music education, especially in teaching traditional music. Taking the intersection of conventional music culture and applied teaching practice, the article utilizes advanced algorithmic techniques - Support Vector Machines and Apriori Association Rule Algorithm - to construct an innovative model of emotional cognition and stylistic categorization of traditional music. This model integrates standard music emotion cognition and style classification into modern informationized music teaching. To verify the model’s effectiveness, the researchers selected 500 pieces of traditional Chinese music as samples, trained and tested using the constructed model, and compared it with other algorithmic models. The test results show that the model outperforms BP neural networks and Linear neural networks regarding emotion perception. Specifically, the model shows efficient performance with mean square error (MSE) and correlation coefficient (CC) averages of 0.0099 and 90.50% on the test set, respectively. In addition, the model has the shortest processing time and is lower than the IM-Apriori algorithm regarding space consumption, showing its efficiency and resource-saving advantages. The model’s accuracy ranges from 75.23% to 90.06% in classifying traditional music. In summary, the model proposed in this paper improves the accuracy and efficiency of emotional cognition and style classification of conventional music and provides essential technical support for effectively integrating traditional music into modern informative music teaching.

This paper uses the ARIMA model in time series and the BLSTM sentiment classification algorithm in sentiment analysis to predict the elements and the direction of traditional music heritage. Differential processing of non-smooth series data stabilizes the time series data of traditional music inheritance. By extracting all the features contained in the sheet music, the interpreted sheet music is subjected to sentiment analysis to further analyze the inheritable elements of traditional music. The results show that the time series model has high accuracy in predicting the inheritable elements of traditional music, the MAPE value of the ARIMA model is 5.9658308, and the melody, as well as the structure of traditional music, can be integrated into piano teaching in colleges and universities to a certain extent, with the integration degree of the melody being 0.72 and the integration degree of the structure is 0.655.

In this paper, we first propose a Markov chain-based automatic composition method to construct a song set using classical and traditional music as a sample. Using probability matrices, experiments are conducted to generate pitch and time value sequences, and melodic segments of traditional music are generated using transformation techniques. Secondly, a traditional music digital resource library that integrates multiple functions is constructed by utilizing various information technologies. Finally, based on the existing classification dimensions, the relationship between various types of influencing factors in the inheritance of traditional music was analyzed, and the structure of the questionnaire was initially constructed. The results show that the correlation coefficients between the cultural inheritance of traditional music and its resources, environmental threats, development level, diversified values, public demand, and social cognition are 0.4235, 0.0953, 0.3594, 0.4253, 0.5348, and 0.5224, respectively, and there is a significant positive influence. This paper provides some theoretical and practical guidance for the protection and inheritance of traditional music.

In this paper, we first start from extracting music features and analyze the extraction methods for time-domain, frequency-domain, and cepstrum-domain features of music. Next, the logistic regression model is used to recognize music and deal with two-class and multi-class classification problems. To extract music and text features, a CNN-SVM-based classification model is proposed using a deep learning teaching practice structure. Finally, feature selection experiments are carried out on the extracted raw feature set using various feature selection algorithms to optimize the feature set and reduce classifier computation. The results show that the average number of feature items selected using the improved correlation coefficient method is 64, and the number of feature items is mostly distributed between 58 and 72. The data verifies that the improved correlation coefficient method proposed can effectively extract the features of traditional music, improve the accuracy of traditional music classification, and thus promote the development of the fusion of traditional music culture and vocal music teaching in colleges and universities.

The first part of this paper examines the classification of traditional music culture and the method of integrating it with modern vocal teaching. Then, the association rule algorithm was used to establish the calculation model of integrating college vocal teaching and traditional music culture, and the weighted MINWAL algorithm improved the model. Finally, the degree of integration and the effect of integration between college vocal music teaching and traditional music culture were analyzed using indicators of integration degree, value, and acceptance. The fusion levels of singing style, voice, tune melody, lyrics, performance technique and dynamics were 4, 3.5, 4.3, 4.4, 4.1 and 3.9, respectively. The fusion level regarding teaching content was 4.1, and the fusion level in terms of practical activities was 4.0. A teaching strategy that is feasible and effective and has promotion value is the combination of college vocal music teaching and traditional music culture.

The article explores the value of different types of sources (written, audio) of traditional music in the context of contemporary Polish folk music research and practices. The military twentieth century rendered a large gap in the records (especially in the sound recordings) of traditional music and in order to obtain a more coherent and complete picture of the essence and development of traditional music, it is necessary to combine all the bits and pieces in different types of recordings. The most recent research has allowed us to study the first notations of traditional music made by Oskar Kolberg in the nineteenth century in quite a new context - via audio experiences after listening to archival recordings. The "phonic age" delivered additional data about traditional music - not only lyrics, melody, intervals and formulaic notation of rhythms, but also every detail that could not have been captured and saved with the use of traditional musical notation. The appearance of new techniques of sound recording has a particular meaning and influence for the reconstruction of the ancient sound of village music and for styles and manners of performing. It is important not only for musical performers but also for theoreticians who often face the problem of how to interpret historical descriptions of music or how to truly perform historical reality (e.g., ethnomusicologists, ethnographers, film and radio-audience producers, etc.). An experimental study was conducted in collaboration with contemporary musicians on how they interpret the acquisition of a new piece written down over one and a half centuries ago. The results revealed notable differences between the musicians with academic education, younger generation revivalists, and traditional musicians in terms of acquiring the style of performance but also in shares of improvisation. In addition, the notation is not able to describe the nuances of performance and therefore the audio recordings or live models are of extreme value in the practical learning and researching of traditional music. [ABSTRACT FROM AUTHOR]

Malaysian music was influenced by British, Portuguese, Indian, and Chinese cultures, which created syncretic music. Aesthetics values strengthen the existence of syncretic music by molding taste and interest among the listeners. It somehow creates various feelings whether to appreciate, accept, or against the music, further developing musical preferences among individuals. Exploring aesthetic values in popular and traditional music is crucial as many cultures have influenced Malaysia due to colonization, trading, wedding, and migration. This paper reviews on Malaysian syncretic music, the aesthetic values in Malaysian popular and traditional music, and the influence factors of Malaysian music. It is found that there was a confluence of various intercultural musical elements in the early era, while assimilation has taken place due to traditional Malay rhythmic patterns and traditional folk themes. This led to the Malaysian conception of music and musical composition, creating the idea that Malaysian music has drastically expanded its artistic resources since the pre-colonial era. We also found communities living in the pre-modern or modern era have different unique taste in the aesthetic characteristics. Despite this, most remote communities are compelled to participate in postmodernity in some way due to the globalization of media, capital, and mobile networks. These combinations result in many theories, concepts, and discourses that enrich aesthetic values in Malaysian syncretic music. [ABSTRACT FROM AUTHOR]

Music education in Chile has yet to focus and deepen the possibilities that the use of traditional music can have as an interdisciplinary learning resource. As a result of this problem, this research focused on the relevance and value that traditional music can have as a comprehensive and interdisciplinary learning tool in formal music education. The research analyzed the implementation and results of a proposal for the sixth year of basic education with a pedagogical approach based on the idea that the music that we transfer to formal education cannot be separated from the experiences, activities, knowledge and socio-cultural implications that give them meaning in their contexts of origin. Through collaborative action research, the proposal was carried out in four centers and the perceptions of the collaborating teaching staff were analyzed. The results show that the inclusion of these types of music can enrich the learning process from an integrating conception of knowledge, considering the indivisibility of the musiccontext- society triad. [ABSTRACT FROM AUTHOR]

Many folklorists have analyzed traditional carols and caroling over time, but most of them focused on the development of the custom or on the morphology of carols. In this article we will present the various interpretative formulas that we encountered during a folklore gathering session in the southern area of the Apuseni Mountains: men's group, mixed group, individual performers, and children's group. Each formula has interpretative particularities, with some formulas being constituted only for the purpose of communicating carols, despite not being encountered in the practice of caroling. The importance of each formula is presented with arguments, together with an exemplary sample of carols performed. [ABSTRACT FROM AUTHOR]

Copyright of Ethnomusicology Research Centre Journal / Ethnomusikologion is the property of Academy of Music Gheorghe Dima (Musicology Papers) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Letonica is the property of University of Latvia, Institute of Literature, Folklore & Art and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this article as a research paper is to present the initial approach of an action research project undertaken digitally between the International School of Musicians and Derwent Harp School, a collaboration between two neighbouring countries, England and Wales. The ongoing project aims to develop and promote the use of Welsh traditional music through the International School of Musicians graded examination syllabus for the small 16-string Harp in C major. Derwent Harp School, a Welsh Music School, has compiled the music for the syllabus from their extensive knowledge of both small harp and Welsh traditional music. The harps are hand-made from wood in Wales by Derwent Harps. The action research methodology details the first cycle of research results and recommendations for further research cycles to be conducted. The research involved two specialised harp teachers, five examination candidates and one examiner. Data was collected through semi-structured interviews, which were analysed using thematic and narrative analysis. The initial results show a positive outcome in the uptake of Welsh traditional music, with candidates expressing a keenness to learn additional Welsh traditional music and seeking opportunities to explore the range of music available. The practical significance of the action research stems from the decline in instrumental tuition in Wales, specifically that of Welsh traditional music. Furthermore, the research makes a beginning contribution to science by investigating current practices in teaching instrumental music tuition in Wales, which is currently an under-researched area. Initial Conclusions suggest the use of the graded music exam as a means to promote Welsh traditional music is well placed to make an impact on improving uptake by promoting, developing and maintaining this genre for future generations.

Traditional Indonesian music is an Indonesian cultural heritage that is often forgotten by modern society. Many people do not know which area the traditional music came from. This is a problem because of the large amount of traditional music that loses its identity. Deep Learning technology can be a solution to this traditional music classification problem. The topic of traditional music classification was chosen because there has been no research using this topic before. This research will classify traditional music based on the area of origin using data from Youtube with the extraction method of the Mel-Frequency Cepstral Coefficients (MFCC) feature and the Convolutional Neural Network (CNN) classification model. There are 7 provinces that will be used as classification labels, namely Riau, Papua, Special Capital District of Jakarta, Special Region of Yogyakarta , North Sumatra, West Java, and South Sulawesi. The classification system produced in this study produced good classification accuracy with a value of 74.03%.

Reflecting their dominance within music education, most musical instruments used in schools are of Western origin. In stark contrast, the adoption of folk instruments for the purposes of facilitating students' music-making and learning in the educational context is rarely encountered. This article reports the empirical data of a study in which a modified, 3D-printed instrument in the form of a shakuhachi was tested based on its usability in a classroom setting and the degree to which students were motivated to learn it. The positive results make a case for child-friendly, affordable, educational instruments that facilitate easy sound production and pitch bending without compromising authenticity and expression. Developing such educational instruments can play a crucial role in invigorating and transmitting traditional music. [ABSTRACT FROM AUTHOR]

For decades, the transmission of Cantonese opera in Hong Kong and China has faced considerable challenges, including a lack of valid assessment. This study aims to propose a holistic theoretical framework for the assessment of Cantonese operatic singing after 1) analysing two graded examinations of Peking opera and Cantonese opera and 2) interviewing ten Cantonese opera experts and their students from Guangdong and Hong Kong. Findings reveal that the designs of the existing graded examinations in xiqu are still developing; multiple problems exist in the daily assessment practices including: 1) dependence on subjective perception, 2) a focus on the assessment of performance skills and a lack of multidimensionality, and 3) an inclination to momentary judgment and a lack of sustainability in assessing and documenting students' progress. Suggestions include introducing criterion- and standard-based assessments and increasing cooperation between artists and education experts, which may further promote the inheritance, popularity, and development of this traditional art form. [ABSTRACT FROM AUTHOR]

This research aimed to see the phenomenon of the bia music of the Minahasa tribe that needed to be carefully observed in considering Bia Music then until now was shifting and changing due to the society's lack of awareness towards Bia Music. This traditional music was very concerning due to the decreasing quantity and quality of the players. The objectives of this research were to analyze: (1) the traditional music heritage and preserving tradition across generations and (2) the educational process in traditional musical performances. The research applied a qualitative method with data collecting techniques by interview, observation, and literature review. Data validation technique based on credibility criteria, using data triangulation. Data analysis techniques consisted of collection, data presentation, data reduction, and data verification. The results of the study show that the younger generation realizes that bia music has become distinctive music that belongs to the community. This music has become part of the social life of the people in Batu village, North Minahasa, so that the educational process in society occurs naturally as a model of inheritance that occurs continuously in society. [ABSTRACT FROM AUTHOR]

Traditional music group from the Banyuwangi region with unique qualities is called Gamelan Banyuwangi. The peculiar laras known as the slendro sliring that distinguishes the Banyuwangi gamelan from other gamelan is one of its distinguishing features. The laras slendro sliring, however, became less common as time went on due to changes. This study set out to identify the variables that affected how the laras slendro changed in relation to the Banyuwangi gamelan. Descriptive qualitative research methodology was employed in this study. The laras on the Banyuwangi gamelan serve as the study's formal and material objects, respectively, together with the notion of change. Secondary information was gathered from records, such as old music videos and some pictures of previous forms of gamelan music. Data collection techniques used in this study include observation, interviews, and document studies. To get the validity of the data the author triangulated the sources. The analysis technique used by the author includes data reduction, data presentation, and drawing conclusions. The results of the study, there are two factors that affect the change in the laras of the Banyuwangi gamelan slendro, namely changes in evolution and acculturation. Evolutionary changes occur in the decrease in the tone of the laras slendro sliring to the slendro that is used today because the younger generation cannot follow the use of the laras slendro sliring so there is an evolution in Banyuwangi gamelan music. Second, there are changes due to acculturation factors that occur during tuning, so Banyuwangi gamelan craftsmen use standard Western music tuners to make tuning easier. [ABSTRACT FROM AUTHOR]

Studies in various countries on gender roles in traditional musical practices portray women as people whose music-making potential is dictated by their role and status in their various communities, among other factors. This article examines the gendered roles of Pondo women drummers in the traditional music played among the Pondo people, a sub-tribe of the Xhosa people in the Eastern Cape Province of South Africa. This article presents a discussion of the Pondo community's gender ideology and how gender-related behaviours affect its musical thought and practice, and how traditional music functions in communities to reflect Pondo women's musical roles in traditional ceremonies. This article outlines the role played by Pondo women in traditional ceremonies and their drumming in those ceremonies. The research method adopted was a secondary data analysis of the study by Nombeko Ndzobongo (2007) titled "Women drumming among the Pondo people of Eastern Cape Province of South Africa: implication for gender music education". Her study outlined several factors that directly and indirectly affect Pondo women's musical activities. As indicated in the study, these reflect society's perception of these women; as women and as female musicians. Their place in the community, their role and their value in making music were also discussed. [ABSTRACT FROM AUTHOR]

This qualitative research paper was designed to explore Tai Phake music in Assam State, India, and examine its role in the formation of Tai Phake ethnic identity. Data was gathered from documents and field investigation. The results show that Tai Phake music can be thought of as cultural capital, which propels ethnic identity through the use of language, dress, beliefs, and traditions that help create a collective awareness among people in the community. The construction of Tai Phake ethnic identity through music is carried out via singers, musicians, dancers, traditional costumes, melodies, and the use of Tai Phake language in the lyrics. These processes reproduce Tai Phake ethnic identity through ritual music, entertainment, and traditions, helping to preserve the Tai Phake ethnic identity. The results demonstrate the power of both traditional and modern Tai Phake music in the preservation of local identity, strengthening community relationships and network building between Tai Phake people and other Tai groups in Southeast Asia. [ABSTRACT FROM AUTHOR]