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One approach to studying music videos is through the framework of diegesis, which considers the relation of sounds to narrative structure in film. Unlike most visual media, music videos flip the diegetic picture as image functions to support music, allowing for new narrative interpretations. Narratological possibilities of several 360° pop music videos are examined to demonstrate pop music diegesis, which operates through navigational agency and diegetic immersion. The viewer of an immersive music video is a staged element of compositional design, implied by agency afforded through interaction and envelopment. Moreover, the essay expounds discourses on popular music in immersive media. [ABSTRACT FROM AUTHOR]

Nowadays, video streaming is very popular around the world, users use video streaming to watch online movies, education, and do office work. Video streaming is referred to as the transmission of video content, live or recorded from server/cloud to end-users. Video and music files are prearranged and transmitted in sequential packets of data so they can be streamed instantaneously, only the User required a high-speed network for access, and a subscription to streaming via an application. In this paper, we survey and analyze the previous development in video streaming such as 2D, and 3D video streaming, compression technologies, protocols for streaming, cloud video processing, 4K/8K, and challenges, and limitations and offer aspects of future development, which will help to provide quality of service of video streaming and increase the revenue for service providers. [ABSTRACT FROM AUTHOR]

Numerous studies in the field of music generation have demonstrated impressive performance, yet virtually no models are able to directly generate music to match accompanying videos. In this work, we develop a generative music AI framework, Video2Music, that can match a provided video. We first curated a unique collection of music videos. Then, we analyzed the music videos to obtain semantic, scene offset, motion, and emotion features. These distinct features are then employed as guiding input to our music generation model. We transcribe the audio files into MIDI and chords, and extract features such as note density and loudness. This results in a rich multimodal dataset, called MuVi-Sync, on which we train a novel Affective Multimodal Transformer (AMT) model to generate music given a video. This model includes a novel mechanism to enforce affective similarity between video and music. Finally, post-processing is performed based on a biGRU-based regression model to estimate note density and loudness based on the video features. This ensures a dynamic rendering of the generated chords with varying rhythm and volume. In a thorough experiment, we show that our proposed framework can generate music that matches the video content in terms of emotion. The musical quality, along with the quality of music-video matching is confirmed in a user study. The proposed AMT model, along with the new MuVi-Sync dataset, presents a promising step for the new task of music generation for videos. [Display omitted] • Pioneering generative music AI model with video emotion matching. • New MuVi-Sync dataset with matched video and music features. • Video2Music framework with Affective Multimodal Transformer. • Post-processing to adjust music dynamics to sync with video. • Outperforms baseline in terms of Music Quality and Video Matching. [ABSTRACT FROM AUTHOR]

Music–visual retrieval is of broad interest in the field of Music Information Retrieval (MIR). Most research relies on emotional tags or is based on content but does not consider stylistic and cultural differences between music and videos. As a result, only one‐sided dimensions are considered for automatic music retrieval for videos, while the stylistic correlation between audio‐visual is ignored. At the same time, the needs of different cultural regions cannot be well met. Therefore, the first labelled extensive Music Video (MV) dataset, Next‐MV, is constructed in this paper consisting of 6000 pieces of 30‐s MV fragments, including five music style labels and four cultural labels. The proposed Next‐Net framework is built to study the correlation between music style and visual style. The optimal audiovisual feature set and model structure are obtained in the experiments. The accuracy reached 71.1%, higher than the baseline model (66.9%). Furthermore, in the cross‐cultural experiment, it is found that the accuracy of the general fusion model (71.1%) is between the model trained by within‐dataset (76%) and the model trained by cross‐dataset (60%), indicating that culture has a significant influence on the correlation between music and visual. The experiments of pair classification on cultures are further carried out. It is found that Rock and Dance are more culturally influenced than R&B and Hip‐hop. Among all the cultures discussed, Chinese and Japanese music and videos show great differences among most of the styles, while Korean music videos styles are more similar to western styles than other eastern cultures. [ABSTRACT FROM AUTHOR]

Many music generation research works have achieved effective performance, while rarely combining music with given videos. We propose a model with two linear Transformers to generate background music according to a given video. To enhance the melodic quality of the generated music, we firstly input note-related and rhythm-related music features separately into each Transformer network. In particular, we pay attention to the connection and the independence of music features. Then, in order to generate the music that matches the given video, the current state-of-the-art cross-modal inference method is set up to establish the relationship between visual mode and sound mode. Subjective and objective experiment indicate that the generated background music matches the video well and is also melodious. [ABSTRACT FROM AUTHOR]

Since the man and the myth entwined in the Middle Ages, the figure of Rodrigo Díaz de Vivar, the Cid Campeador, has survived for centuries by adapting itself to the taste and mentality of the public of each era. The latest manifestation of this evolution is in the Romance music video, which served to promote El Cid series (Amazon Prime Video). This article develops an interdiscursive analysis between this audiovisual work and the medieval written sources where it finds the characters, themes and topics of the Cidian tradition which it adapts to create a plot closer to Tarantino's films than to Anthony Mann's Cid. [ABSTRACT FROM AUTHOR]

A video-based learning (VBL) has long practically been used in the education environment to help students enhance their level of understanding. Educational content for VBL has been widely produced on various platforms to support achieving the optimum level of student performance. Additionally, the concept of edutainment using video in education is gaining traction, particularly in children's learning. Implementing the edutainment notion into the learning process is a critical component of successful learning. Previous research has examined the beneficial effects of edutainment using video for learning purposes. It has been shown to improve the effectiveness of the learning process and generate enjoyable learning experiences for students. As the paper is aimed at children, the educational music video (EMV) can capture their attention even more than a standard educational video does due to its interactive content. However, studies on edutainment for educational music videos, in particular, have not been studied much. Thus, the objective of this paper is two-fold; i) to review and discuss the conceptual approach of edutainment and its significance towards student learning experiences, and ii) to propose the component and element of edutainment in the EMV for children learning. The findings of this study outline the characteristics of edutainment that can be utilised as criteria for selecting the finest EMV for children's learning. [ABSTRACT FROM AUTHOR]

This article explores the idea of audiovisual immersion through the portal of the virtual reality music video. Our focus falls on a close reading of Björk's video, 'Family', which addresses questions of immersion in relation to user-experience, staging, and technological innovation. This article draws on the authors' responses to the video by considering the implications of VR immersion in a new generation of music video productions. As part of the methodology on offer, a model for music analysis is devised for conceptualising virtual audiovisual space (VAVS) and the inextricable relationships between production and compositional design. [ABSTRACT FROM AUTHOR]

The purpose of video key frame extraction is to use as few video frames as possible to represent as much video content as possible, reduce redundant video frames, and reduce the amount of computation, so as to facilitate quick browsing, content summarization, indexing, and retrieval of videos. In this paper, a method of dance motion recognition and video key frame extraction based on multifeature fusion is designed to learn the complicated and changeable dancer motion recognition. Firstly, multiple features are fused, and then the similarity is measured. Then, the video sequences are clustered by the clustering algorithm according to the scene. Finally, the key frames are extracted according to the minimum amount of motion. Through the quantitative analysis and research of the simulation results of different models, it can be seen that the model proposed in this paper can show high performance and stability. The breakthrough of video clip retrieval technology is bound to effectively promote the inheritance and development of dance, which is of great theoretical significance and practical value. [ABSTRACT FROM AUTHOR]

Affective computing has suffered by the precise annotation because the emotions are highly subjective and vague. The music video emotion is complex due to the diverse textual, acoustic, and visual information which can take the form of lyrics, singer voice, sounds from the different instruments, and visual representations. This can be one reason why there has been a limited study in this domain and no standard dataset has been produced before now. In this study, we proposed an unsupervised method for music video emotion analysis using music video contents on the Internet. We also produced a labelled dataset and compared the supervised and unsupervised methods for emotion classification. The music and video information are processed through a multimodal architecture with audio–video information exchange and boosting method. The general 2D and 3D convolution networks compared with the slow–fast network with filter and channel separable convolution in multimodal architecture. Several supervised and unsupervised networks were trained in an end-to-end manner and results were evaluated using various evaluation metrics. The proposed method used a large dataset for unsupervised emotion classification and interpreted the results quantitatively and qualitatively in the music video that had never been applied in the past. The result shows a large increment in classification score using unsupervised features and information sharing techniques on audio and video network. Our best classifier attained 77% accuracy, an f1-score of 0.77, and an area under the curve score of 0.94 with minimum computational cost. [ABSTRACT FROM AUTHOR]

In this study, we analyzed the CO2 emissions of online music and video streaming services, as one of the digital contents, in Japan using life cycle assessment. As a system boundary of online music and video streaming, processes such as data center construction and server manufacturing, usage of communication networks and internet communication technology devices (personal computers (PCs) and smartphones), and disposal of data centers and servers were considered. Data were collected using statistical and online surveys, and CO2 emissions per 1 MB of communication volume were calculated. One of the results revealed that the lifecycle CO2 emissions of listening to online music using PCs and smartphones were 5.88 × 10−4 and 1.43 × 10−4 kg-CO2/MB, respectively. The overall CO2 emissions for domestic music and video streaming services in 2019 was 921 thousand t-CO2. Online video streaming accounted for 87.7% of the total emissions, which corresponded to approximately 0.23% of domestic CO2 emissions derived from electric power generation. [ABSTRACT FROM AUTHOR]

The number of “hits” has been widely regarded as the lifeblood of many web systems, e.g., e-commerce systems, advertising systems and multimedia consumption systems. However, users would not hit an item if they cannot see it, or they are not interested in the item. Recommender system plays a critical role of discovering interesting items from near-infinite inventory and exhibiting them to potential users. Yet, two issues are crippling the recommender systems. One is “how to handle new users”, and the other is “how to surprise users”. The former is well-known as cold-start recommendation. In this paper, we show that the latter can be investigated as long-tail recommendation. We also exploit the benefits of jointly challenging both cold-start and long-tail recommendation, and propose a novel approach which can simultaneously handle both of them in a unified objective. For the cold-start problem, we learn from side information, e.g., user attributes, user social relationships, etc. Then, we transfer the learned knowledge to new users. For the long-tail recommendation, we decompose the overall interesting items into two parts: a low-rank part for short-head items and a sparse part for long-tail items. The two parts are independently revealed in the training stage, and transfered into the final recommendation for new users. Furthermore, we effectively formulate the two problems into a unified objective and present an iterative optimization algorithm. A fast extension of the method is proposed to reduce the complexity, and extensive theoretical analysis are provided to proof the bounds of our approach. At last, experiments of social recommendation on various real-world datasets, e.g., images, blogs, videos and musics, verify the superiority of our approach compared with the state-of-the-art work. [ABSTRACT FROM AUTHOR]

Multi-face tracking in unconstrained videos is a challenging problem as faces of one person often can appear drastically different in multiple shots due to significant variations in scale, pose, expression, illumination, and make-up. Existing multi-target tracking methods often use low-level features which are not sufficiently discriminative for identifying faces with such large appearance variations. In this paper, we tackle this problem by learning discriminative, video-specific face representations using convolutional neural networks (CNNs). Unlike existing CNN-based approaches which are only trained on large-scale face image datasets offline, we automatically generate a large number of training samples using the contextual constraints for a given video, and further adapt the pre-trained face CNN to the characters in the specific videos using discovered training samples. The embedding feature space is fine-tuned so that the Euclidean distance in the space corresponds to the semantic face similarity. To this end, we devise a symmetric triplet loss function which optimizes the network more effectively than the conventional triplet loss. With the learned discriminative features, we apply an EM clustering algorithm to link tracklets across multiple shots to generate the final trajectories. We extensively evaluate the proposed algorithm on two sets of TV sitcoms and YouTube music videos, analyze the contribution of each component, and demonstrate significant performance improvement over existing techniques. [ABSTRACT FROM AUTHOR]

Purpose: The Supermodel Astronaut (SMA) Challenge began with a group of women in a graduate class who joined together to take the pledge "I Am Enough." The goals of the pledge are to practice positive affirmative actions of self-acceptance, self-grace, self-improvement and positive encouragement of oneself and others. The paper aims to discuss this issue. Design/methodology/approach: The SMA Challenge involves an online video pledge to encourage women and girls to demonstrate their opposition to the promotion of singular ideals of body perpetuated through media. Various individuals and groups have created music videos titled SMA to the soundtrack created by Ellen Tift (the originator of the project). Findings: Here, framed by Daignault's (1983) theories on curriculum construction, the authors critically reflect on their support of the idea of the video, but also their apprehension and insecurities in participating in the video production. Originality/value: From reflections, writings and dialogic discussions, they determined five embodied frames of mind that supported them in traversing the liminal space of new learning: imagining the possible, learning in doing, settling in vulnerability, journeying through empowerment and heightening self-reflection. [ABSTRACT FROM AUTHOR]

In previous studies of music video's semiotic triumvirate of music– image–text, it is most common to focus on the first two and more or less ignore the role played by words – perhaps because lyrics only rarely strike us as the most prominent part of this totality of communicative layers in music video. However, recent years have witnessed the birth of a new music video genre that places a greater emphasis on words than is usually the case, namely the so-called lyric video, that is defined by graphically replicating the sung lyrics as text in the image. This essay traces the development and definition of this particular music video genre, providing theoretical reflections on the role played by words and lyrics in music video in general and in lyric videos in particular. It is argued that lyric videos in fact run counter to what we normally expect of music videos. This is demonstrated through an in-depth analysis of SOPHIE's 'Faceshopping' that reads as a critique of the lyric video genre from within the genre itself. Like this video, the essay maintains that the creative clash between the three different registers of music–image–text is indeed the most fundamental aspect of music video aesthetics. [ABSTRACT FROM AUTHOR]

Two experiments examined how affective values from visual and auditory modalities are integrated. Experiment 1 paired music and videos drawn from three levels of valence while holding arousal constant. Experiment 2 included a parallel combination of three levels of arousal while holding valence constant. In each experiment, participants rated their affective states after unimodal and multimodal presentations. Experiment 1 revealed a congruency effect in which stimulus combinations of the same extreme valence resulted in more extreme state ratings than component stimuli presented in isolation. An interaction between music and video valence reflected the greater influence of negative affect. Video valence was found to have a significantly greater effect on combined ratings than music valence. The pattern of data was explained by a five parameter differential weight averaging model that attributed greater weight to the visual modality and increased weight with decreasing values of valence. Experiment 2 revealed a congruency effect only for high arousal combinations and no interaction effects. This pattern was explained by a three parameter constant weight averaging model with greater weight for the auditory modality and a very low arousal value for the initial state. These results demonstrate key differences in audiovisual integration between valence and arousal. [ABSTRACT FROM AUTHOR]

This article explores the relationship between global imaginaries, frictions, and the production of locality through an examination of the Kenyan music video industry. Localities are constructed, in part, through the constitutive work of the imagination. Friction occurs when divergent constructions of the global imaginary become entangled with each other. Through an examination of the production, distribution, and reception of Kenyan music videos, this study identifies three types of friction that occur in cultural production: collaborative frictions, in which collectivities work across differences toward a common cause; combative frictions, in which collectivities are positioned in direct opposition to each other; and competitive frictions, in which the interests of different collectivities conflict at times and align at others. This study contributes to scholarship on cultural production in non-Western contexts by articulating hybridity as both an antecedent to and outcome of transcultural exchange. [ABSTRACT FROM AUTHOR]

Copyright of Volume! is the property of Editions Melanie Seteun 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.)

This paper aims to discover usual practices in the filming and the edition on the current music video. Even if the format proposes a large range of possibilities, we consider that the formal options repetition could lead to formulate a code. We think that some shoots will be more frequent and that their length will be defined by the frame size, the possible changing in the frames by the camera motion and the represented action length with regard to the filmed action length. We will apply a content analysis on a music video sample. [ABSTRACT FROM AUTHOR]

I argue that 'Unmute This' videos constitute an Internet video microgenre, and as particular intersections of behaviour, devices and content, these videos function as an entry point into a number of broader issues within twenty-first-century audio-visual media and participatory behaviour. First, the moment of encounter with an 'Unmute This' video post elucidates a reframing of the digital sensorium: how ears and eyes, watching and listening, are configured and reconfigured in tandem with ubiquitous devices like smartphones and earbuds, and via the affordances and behaviours of various digital and social media platforms. Secondly, directives to 'Unmute This' point to a distinct mode of online socialization, a particular 'sociality' of social media. In collaboration with the devices and platforms of their everyday experience, users build a vernacular theory of media use based on their own behaviours and practices. They then implement that theory while seeking to impart an ideal content experience for others, platform users potentially far removed from the poster/commenter's own acquaintances. In this article, then, I begin by unpacking the implementation of autoplaying video and the assemblage of the ubiquitous digital sensorium - that is, what sensory behaviours and practices map on to dealing with autoplaying video, at least as suggested by 'Unmute This' directives. I then consider 'Unmute This' videos as a genre, sketching out some patterns in the form and content of videos that one might be most likely directed to 'UNMUTE IMMEDIATELY', and interrogating how such stylistic and formal details might be emergent in response to platform affordances, ubiquitous devices and norms of Internet-mediated sociality. Finally, I suggest a theorization of vernacular media theory, drawn from the particulars of 'Unmute This' videos and their creators and disseminators, and I unpack some implications for the kinds of assumptions about sociality, behaviour and trust that are built into such theorizing and user responses to it. [ABSTRACT FROM AUTHOR]

Copyright of Revista Docencia Universitaria is the property of Universidad Industrial de Santander 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.)

With the wide diffusion of social media like YouTube in the world, it becomes much easier to access foreign cultural products, which facilitates cross-cultural consumption of media content. Despite the rapid growth of cross-cultural consumption online, there is a dearth of large-scale studies examining how cultural products originated from certain culture are consumed and enjoyed among users of different cultures. Three data sets are used in the study, namely, (1) users’ online activities on Korean Pop (K-pop) music videos on YouTube crawled via open Application Programming Interface, (2) Hofstede’s five-dimensional model of national culture, and (3) official statistics gathered by World Bank. By combining three data sets, this study investigates how K-pop music videos are consumed across a variety of cultures. Based on prior studies examining the relationship between cultural distance and export/import of cultural goods, this study extracted two seemingly contrasting hypotheses, that is, (1) cultural proximity hypothesis, emphasizing cultural similarity as a main motive for cross-cultural consumption and (2) cultural exoticism hypothesis, highlighting cultural difference driving cross-cultural consumption. Results show that K-pop music video consumption is highest among countries both whose cultures are very similar to Korean culture and whose cultures are very different, indicating that both hypotheses are empirically supported. Theoretical and practical implications of the findings are also discussed. [ABSTRACT FROM AUTHOR]

The article critiques the music video "Fatty Boom Boom," by hip hop group Die Antwoord. The topics discussed include the blackface art medium used in the video and its social implications, Zef culture in white South Africa, and an analysis of three racechanges in the video, namely "The South African City," "The Voodoo Lounge," and "The Black Gynecologist."