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Reality TV, particularly Music Reality Shows (MRSs) like Nigerian Idol, has emerged as a significant dimension of television programming, providing a platform for cultural representation and interactivity. Afrobeats, a music genre that originated in West Africa, has gained global acceptance and recognition in recent years with great influence on the global cultural landscape. This study examined the cultural preferences of viewers towards the use of Afrobeats music in the Nigerian Idol reality TV show. Cultivation theory was adopted as the theoretical framework to investigate the level of viewership of Nigerian Idol among residents of Lagos, Nigeria, and explore their cultural preferences for Afrobeats music. Through a mixed methods approach involving a quantitative survey and focus group discussions (FGD), the study gathered data from residents of Lagos, Nigeria. The results reveal a reduction in viewership of Nigerian Idol compared to previous seasons, indicating shifting audience interests. However, there is a significant cultural preference for Afrobeats music compared to other genres of music, particularly those of foreign origin, among viewers who have encountered the Nigerian Idol. This also confirms the growing influence and acceptance of the fast-rising Afrobeats genre. The findings underscore the role of media, particularly television programmes such as Reality TV Shows, in shaping cultural identity and preferences. The correlation analysis confirms a strong relationship between viewership levels and cultural preferences for Afrobeats music in Nigerian Idol, highlighting the impact of television programming on audience perceptions and tastes for cultural artifacts like music. The study contributes to understanding cultural dynamics in the context of Reality TV Shows, music, and cultural entertainment, emphasizing the need for producers to adapt to evolving audience preferences and embrace digital innovations to sustain viewer interest. [ABSTRACT FROM AUTHOR]

Bhangra is a musical genre that indexes the traditional sonic identity of Punjab. The dhol and tumbi evoke an agrarian lifestyle that is the pride of the Punjabi Jatt, the traditional landlord caste. Since 2019, however, Punjabi gangster music has emerged to reflect a new conception of Punjabi diasporic subjectivity that has shifted the Punjabi sonic imagination of home from Punjabi fields to the Western city. This article contextualizes the rise of Punjabi gangster music within crises in agriculture and substance abuse among Punjabi youth, alongside an accelerating exodus from Punjab of young Punjabis seeking education and work in Canada. [ABSTRACT FROM AUTHOR]

Music accompanies all phases of our lives, and when we reach old age, music becomes a direct symbol of nostalgia. Autobiographical memories are essential to an individual's sense of identity, continuity, and meaning. But some pathologies, such as dementia, can interrupt the memory storage process. Music can help recall and evoke memories and can be used in alternative treatments for dementia. This work aims to propose an architecture for a music recommendation system capable of recommending music according to musical genre, with the aim of helping music therapists in therapies addressed to elderly people with dementia in initial states. Here we used data from the public music database Emotify, which is composed of 400 songs labeled by 1595 participants in 7975 sessions. Both channels of the songs were windowed using 10s windows with 5s overlap. The data from these windows were represented by 34 time and frequency features. Then, we assessed and compared the performance of classifiers based on support vector machines, decisions trees and Bayesian network. The most suitable architecture in this experimental study was the Random Forest with 250 trees, with an accuracy of 83.42% ± 1.72%, kappa statistic of 0.78 ± 0.02, AUC-ROC of 0.99 ± 0.00, sensitivity of 0.96 ± 0.02, and specificity of 0.94 ± 0.01. this exploratory study found promising results that indicates the possibility of building recommendation systems to support music therapy based on the automatic classification of songs according to the most appropriate musical genre for the patient. [ABSTRACT FROM AUTHOR]

The present study explored university students' perceptions and attitudes toward music listening in foreign language learning, examining its perceived supportive role in their learning process. In this study, "music listening in foreign language learning" refers to the practice of incorporatingmusic as a background accompaniment during language study. With 200 participants from various majors, findings indicated that a majority (94.5%) frequently listened to music in general, with a preference for slow ballad, fast dance, and classical music genres for language study. Of these, 142 stated that listening tomusic played a beneficial role in their foreign language learning, perceiving it not just as a stress-reliever but also a valuable tool enhancing language skills. A significant correlation emerged between music listening and decreased communication apprehension from the Foreign Language Classroom Anxiety Scales (FLCAS). Hierarchical regression highlighted the individual variables like gender, age, and English proficiency as influential factors in foreign language anxiety, while frequent music listening displayed a protective, inverse relationship with such anxiety. The findings suggest foreign language proficiency demands both knowledge and emotional stability, with managing anxiety through informal practices like music listening playing a critical role. This highlights the potential for further pedagogical insights and more detailed subsequent research. [ABSTRACT FROM AUTHOR]

This article explores the challenges of applying for and receiving music funding for Canadian music workers identifying as Indigenous, Black, or as a person of colour (IBPOC). Using survey data from the Canadian Live Music Association we find evidence of a racialized gap in music funding. Interviews with IBPOC music workers reveal the causes and consequences of the racial funding gap: there are limitations to worker agency wrought by gaps in knowledge of funding opportunities; perceived bias in favour of majority White-racialized music genres; and bureaucratic contradictions in funding applications that disadvantage IBPOC applicants. We argue that the conceptual tenets of racialized organizations and theories of racial inequality in cultural policy and creative organizations explain why gaps in funding persist, despite stated efforts to the contrary. We conclude by outlining a model of how music funding organizations exemplify racializing processes and offer policy implications for scholars and practitioners of arts funding. [ABSTRACT FROM AUTHOR]

This paper investigates the influence of audio marketing strategies on Generation Z within the context of fashion stores. The mentioned area, The Influence of Audio Marketing on Fashion Stores, has not yet been explored in the post-COVID era on the European market. The European fashion retail market has recently encountered numerous challenges and the previously mentioned issues. Given the stiff competition faced by fashion retailers in Central Europe, understanding how to enhance the shopping experience for this emerging consumer group is crucial. We conducted a quantitative case study using a research sample collected through online forms at V4 Economics (Czech Republic, Slovakia, Poland and Hungary). Our five hypotheses were rigorously tested using statistical tools by One Mean Wilcoxon Test. It was found that there is an influence of audio marketing on increasing the time spent and encouraging higher spending in stores. Another significant finding is the impact of audio marketing on impulsive buying behavior, store satisfaction, and customer intentions. Additionally, our research examines suitable musical genres for Generation Z in fashion stores, with pop music emerging as the most suitable choice based on the results. This paper provides valuable insights for marketers considering the implementation of audio marketing strategies in fashion stores and guides them on selecting the appropriate musical genre to enhance the overall shopping experience for customers. [ABSTRACT FROM AUTHOR]

The Harrist Church in Ivory Coast, West Africa, emerged from the ministry of Liberian William Wadé Harris who baptized between 10,000 and 200,000 people during his eighteen-month evangelistic tour, 1913–1915. This story is full of linguistic complexities and anomalies. Harris himself spoke only English and his own local Liberian Glebo language. He was therefore compelled to work through expatriate English-speaking merchants, knowledgeable of and conversant in local languages, as interpreters and translators in addressing the twelve ethnic groups who heard and accepted his message. Harris encouraged new converts to compose hymns in their own indigenous languages by transforming musical genres embedded in their local musical traditions. Additionally fascinating is that during this early colonial period, the twelve ethnic groups impacted by Harris's ministry lived in almost total isolation from each other and developed their own hymn traditions for thirty-five years (1914–1949), unaware of the existence of churches and worship patterns in neighboring ethnic districts. Only in 1949 did they suddenly become acquainted with the broader, multi-musical, multilingual reality of the Harrist movement. Since then, individual musicians and choirs from local congregations have gradually begun to sing a few of each other's songs, though the challenge of becoming a truly multicultural, multiethnic church remains a work in progress. Documentation of these developments include written colonial and early Protestant and Catholic missionary sources and a large number of eye-witness interviews. Primary research methods employed here come from four intersecting disciplines and theoretical frameworks: orality studies, with particular focus on oral sources in constructing historical narrative; religious phenomenology; mission history; and ethnodoxological research. [ABSTRACT FROM AUTHOR]

Night-time economies have traditionally clustered in city centres and nightlife districts. Yet, due to regulation, urban regeneration and gentrification, nightlife activities and spaces, including nightclubs and club nights, are increasingly located across cities. However, the significance and spatial dynamics of this diffusion and the relationships between different nocturnal spaces and scales remain poorly understood. This paper examines the intra-urban dispersal of nightclubs in Amsterdam and the ways in which nightclub promoters attune their curatorial practices to urban processes through genre-based commercial and cultural imperatives. Drawing on interviews with 36 nightclub promoters, 111 hours of participant observation at clubs and document-based analysis, it demonstrates how these reflexive actors respond and contribute to intra-urban dispersal by (1) spatialising music genres, (2) staging affective atmospheres at different scales and (3) spatialising audiences. The paper contributes to studies which focus on nocturnal spaces, actors and activities and the evolving urban geography within cities. [ABSTRACT FROM AUTHOR]

Many artists are seen as neurotic and some believe this occurs because of their underpinning struggle to ameliorate the existential angst that often arises from living out an embodied human life. An art piece can be a means to channel the artist's neuroticism and potentially alleviate exasperation due to conflicted thoughts about existence. At its extreme, what the author labels as existential rage occurs as a railing against the meaninglessness and disparity of life's circumstances. Art, especially the heavy metal musical genre, is a dynamic medium that encapsulates and communicates existential rage, a version of existential injury categorized by extreme embitterment toward one's being in the world. In this way, thoughts can be experienced as coming from outside of the artist as opposed to within the metaphorical inner cracks of their psyche. Heavy metal as a sonic medium of expression is intensely engrossed in existential concerns about existence. Laypersons and mental health practitioners alike stand to benefit from an expanded understanding of heavy metal in discourse on universal concerns within existential philosophy and psychology. [ABSTRACT FROM AUTHOR]

Music listening can evoke a range of extra-musical thoughts, from colors and smells to autobiographical memories and fictional stories. We investigated music-evoked thoughts as an overarching category, to examine how the music's genre and emotional expression, as well as familiarity with the style and liking of individual excerpts, predicted the occurrence, type, novelty, and valence of thoughts. We selected 24 unfamiliar, instrumental music excerpts evenly distributed across three genres (classical, electronic, pop/rock) and two levels of expressed valence (positive, negative) and arousal (high, low). UK participants (N = 148, Mage = 28.68) heard these 30-second excerpts, described any thoughts that had occurred while listening, and rated various features of the thoughts and music. The occurrence and type of thoughts varied across genres, with classical and electronic excerpts evoking more thoughts than pop/rock excerpts. Classical excerpts evoked more music-related thoughts, fictional stories, and media-related memories, while electronic music evoked more abstract visual images than the other genres. Positively valenced music and more liked excerpts elicited more positive thought content. Liking and familiarity with a style also increased thought occurrence, while familiarity decreased the novelty of thought content. These findings have key implications for understanding how music impacts imagination and creative processes. [ABSTRACT FROM AUTHOR]

This article links late Neoliberal Financialized Capitalism (NFC) with biopolitics, identity crises, and emerging death cults. It is argued that late NFC entails spreading violence in state and society, increasing premature and violent deaths in growing subcultures. Individualistic ideologies—which lower social strata now embrace as enabling myths—suggest renewed celebration of struggle for survival and death cults. From an institutionalist perspective, the regressive institutional change increases the predominance of ceremonial values and habits, which indicates a "triumph of imbecile institutions over life and culture" (Veblen, Thorstein B., The Instinct of Workmanship). Contemporary death cults convert violent dying into a consumable merchandise and a form of entertainment. We illustrate the normalization of violent death in the popular youth culture of Mexico's drug trafficking industry. Its musical genre, known as corridos sanguinarios, songs of blood, is analyzed. Our results show manifold ambivalences of contemporary death cults between social compliance and revolt, which may deepen our understanding of the socioeconomic, institutional, and political future under late NFC. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Turkish Music (TM) / Türk Müziği is the property of Young Wise Publishing 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.)

Casinos have heavily invested in providing live entertainment to generate visitation. However, literature on how patrons' music preferences affect their perception of complimentary tickets to live shows, a common practice by casinos, is scant. A series of discrete choice surveys to multiple pools were utilized in this study and showed that listeners' genre preferences significantly influence perceptions of ticketing offers. The results also point to a potential misalignment of fit between the genre preferences of patrons and live shows hosted by casinos, which may account for the poor ROI from casino showrooms. Additionally, the findings showed that live performances from select genres might make it more challenging for casinos to yield satisfactory returns since listeners of these genres place less value on complimentary tickets. Thus, it is recommended that casinos take a multi-pronged strategy approach to diversify their loyalty offerings. [ABSTRACT FROM AUTHOR]

This article examines whether intermediaries and consumers exert similar influence on producers' boundary-spanning efforts. I propose that boundary spanning is primarily constrained by intermediaries specialized in the market, not by consumers. Consequently, producers are more likely to obscure boundaries when intermediaries' power weakens. To test these ideas, I exploit a natural experiment that shifted the hitmaking power of genre-specific radio stations to general consumers and thus partially democratized the market mediation structure of the U.S. commercial music industry. The results indicate that after democratization occurred in 2012, record labels were more likely to introduce crossover offerings that incorporated features from other popular genres. Through mechanism triangulation efforts, I found that strategic reorientation, or producers' attempt to appeal to a broader spectrum of consumers across genre lines, plausibly explains the crossover effect. This study highlights democratizing changes that dilute intermediaries' influence as a novel explanation of why constraints on producers' boundary decisions have weakened in some markets. The findings suggest that intermediaries' and consumers' expectations may diverge, acting as conflicting forces that organizations must carefully manage. Many organizations closely monitor intermediaries that are deemed influential, but their influence should not be taken for granted as marketplaces empower consumers and become more democratized. [ABSTRACT FROM AUTHOR]

AbstractWomen in Rap often occupy spaces in which they are marginalized or pitted against one another. Yet, recently, more popular women artists are working together, instead of attempting to commodify their rap beefs. With this historic shift in mind, it is critical to take a moment to investigate the collaborations that have occurred in the past, as they are rare. These collaborations allowed a space for women to work alongside other women, when it was not popular or often profitable to do so, and men, who dominated the hip hop music genre and often did not find value in collaborations. Therefore, this study intentionally seeks the elevation of women’s narratives and representations in hip hop culture and academic scholarship by focusing on collaborations and women’s voices within them. It works to add to women’s studies by investigating representations of women rappers in both their lyrics and music videos. The latter of which are ripe with visual message often ignored in scholarship that heavily focuses on lyrics. [ABSTRACT FROM AUTHOR]

The aim of the study was to explore whether there are differences in the effects of temporary and short-term interventions for test anxiety (TA) between aesthetic musical emotions and everyday positive emotions based on the mutual promotion and mutual counteraction (MPMC) theory of affect. In Study 1, one hundred and three valid participants with high TA (38 males, 23.29 ± 1.05 years old on average) were equally divided into three groups by matching, and different genres of audio materials (comedic audio, vital music, sublime music) were used to induce different types of emotions (everyday positive emotions, vital music emotions, sublime music emotions) in order to test the effect of temporary intervention on TA. In Study 2, a one-week short-term intervention was conducted based on the former study to further investigate the effects of different audio types in alleviating TA. The results showed an experimental dissociation from Study 1, demonstrating that sublime music had the best effect on sustained intervention of TA, followed by comedic audio, and the effect of vital music was slightly weaker than the previous two. Findings suggest that music genre may be an important factor that should not be overlooked when alleviating TA with music. [ABSTRACT FROM AUTHOR]

Music genre classification (MGC) is the basis for the efficient organization, retrieval, and recommendation of music resources, so it has important research value. Convolutional neural networks (CNNs) have been widely used in MGC and achieved excellent results. However, CNNs cannot model global features well due to the influence of the local receptive field; these global features are crucial for classifying music signals with temporal properties. Transformers can capture long-range dependencies within an image thanks to adopting the self-attention mechanism. Nevertheless, there are still performance and computational cost gaps between Transformers and existing CNNs. In this paper, we propose a hybrid architecture (CNN-TE) based on CNN and Transformer encoder for MGC. Specifically, we convert the audio signals into mel spectrograms and feed them into a hybrid model for training. Our model employs a CNN to initially capture low-level and localized features from the spectrogram. Subsequently, these features are processed by a Transformer encoder, which models them globally to extract high-level and abstract semantic information. This refined information is then classified using a multi-layer perceptron. Our experiments demonstrate that this approach surpasses many existing CNN architectures when tested on the GTZAN and FMA datasets. Notably, it achieves these results with fewer parameters and a faster inference speed. [ABSTRACT FROM AUTHOR]

Pansori, a traditional Korean form of musical storytelling, is characterized by performances involving a vocalist and a drummer. It is well-known for the singer's expressive narrative (aniri) and delicate gesture with fan in hand. The classical Pansori repertoires mostly tell love, satire, and humor, as well as some social lessons. These performances, which can extend from three to five hours, necessitate that the vocalist adheres to precise rhythmic structures. The distinctive rhythms of Pansori are crucial for conveying both the narrative and musical expression effectively. This paper explores the challenge of open-set recognition, aiming to efficiently identify unknown Pansori rhythm patterns while applying the methodology to diverse acoustic datasets, such as sound events and genres. We propose a lightweight deep learning-based encoder–decoder segmentation model, which employs a 2-D log-Mel spectrogram as input for the encoder and produces a frame-based 1-D decision along the temporal axis. This segmentation approach, processing 2-D inputs to classify frame-wise rhythm patterns, proves effective in detecting unknown patterns within time-varying sound streams encountered in daily life. Throughout the training phase, both center and supervised contrastive losses, along with cross-entropy loss, are minimized. This strategy aimed to create a compact cluster structure within the feature space for known classes, thereby facilitating the recognition of unknown rhythm patterns by allocating ample space for their placement within the embedded feature space. Comprehensive experiments utilizing various datasets—including Pansori rhythm patterns (91.8%), synthetic datasets of instrument sounds (95.1%), music genres (76.9%), and sound datasets from DCASE challenges (73.0%)—demonstrate the efficacy of our proposed method to detect unknown events, as evidenced by the AUROC metrics. [ABSTRACT FROM AUTHOR]

The aim was to determine changes in clinical parameters, glucose concentration, cortisol and behavior in colony queens in no music conditions compared with exposing to different genres of music. Mixed breed clinically healthy queens (N = 9) were used. Queens were studied under no music conditions (control=CON) and auditory enrichment: Soft Rock (M1), Motown (M2), Pop (M3), Frenchcore (M4) and music that was composed to be species-appropriate for cats (M5). The queens underwent auditory enrichment, including three days of silence (D1–3), five consecutive days of auditory enrichment (D4–8) and three days of silence (D9–11). We recorded clinical parameters, glucose, cortisol and behavior. Data were analyzed with GLIMMIX. Queens showed a significant increase of femoral pulse during exposure to M1, M2 and M4; and respiratory rate during exposure to M1, M2, M3 and M4 compared with CON. There was a significant increase in glucose during exposure to M2 and M5 compared with CON. However, there was a significant decrease in glucose during exposure to M4 compared with CON. There was a significant decrease in cortisol during exposure to M2 and M5 compared with CON. When we evaluated the ethogram, we observed a significant decrease in the percentage of interaction with other cats in M1 and M2 compared with CON. In addition, we found a significant decrease in the purring in M1 and M3 compared with CON. Auditory enrichment can be beneficial in situations that cause discomfort and distress in colony cats, such as in feline hospitalization; however, it should be acknowledged that there are limits to direct extrapolation. [ABSTRACT FROM AUTHOR]

Gordon Cameron Sly's article explores the vocal compositions of Benjamin Britten, focusing on his Serenade for Tenor, Horn, and Strings and his cycles of songs set to the poetry of John Donne, Thomas Hardy, and William Blake. Sly argues that Britten's works reflect his personal experiences and beliefs, particularly his homosexuality, pacifism, and apostasy. Sly also discusses the influence of religion and Christian faith in Britten's compositions, as well as his use of musical techniques such as inversion and twelve-note thinking. While Sly's interpretations are thought-provoking, they may not fully capture Britten's intentions and the complexities of his music. [Extracted from the article]

In this text, we discuss the "Beyond Quantum Music" project, which inspired pianists, composers, researchers, and innovators Sonja Lončar and Andrija Pavlović (LP Duo) to go beyond the boundaries of classical and avant-garde practices to create a new style in composition and performance on two unique DUALITY hybrid pianos that they invented and developed to create a new stage design for multimedia concert performances and establish a new musical genre as a platform for future musical expression. "Beyond Quantum Music" is a continuation of the groundbreaking art and science project "Quantum Music", which began in 2015; we envisioned it as a long-term project. In order to build an experimental dialogue between music and quantum physics, we created the DUALITY Portable Hybrid Piano System. This innovative instrument was essential for expanding the current sound of the classical piano. As a result, new compositions and new piano sounds were produced using various synthesizers and sound samples derived from scientific experiments. The key place for this dialogue between music and science was the Delft University of Technology, the Netherlands, where Andrija Pavlović, as a Kavli artist in residence, and Sonja Lončar, as an expert, spent several months in 2022 collaborating with scientists to compose new music. Later on, we collaborated with the visual artist "Incredible Bob" to develop the idea for the multimedia concert "LP Duo plays Beyond Quantum Music" to be performed at various locations, including the Scientific Institute MedILS Split (Croatia), the Theater Hall JDP Belgrade (Serbia), the Congress Hall TU Delft (the Netherlands), and open-air concerts at the Kaleidoskop Festival (Novi Sad, Serbia) and Ars Electronica Festival in Linz (Austria). [ABSTRACT FROM AUTHOR]

Objective: This work is the result of one of the lines of research opened in the LabinTic group (UCLM) and a stay in the city of Padua, in the Italian Veneto area, in 2022. After observing the side effects in Italy as a result of COVID-19 and the Great Lockdown, we wanted to know in more depth some aspects related to how the people of Veneto used IT as an important weapon to fight against forced isolation and, if possible, compare this with other similar studies performed in Castilla-La Mancha. Method: To achieve this objective, an ad hoc questionnaire was designed and validated through expert judgment. This questionnaire was administered to a random probabilistic sample by disseminating it through social media and email using the "snowball" method. A total of 338 people who comprised the population sample of the study (n = 338) were obtained. After analyzing the data through SPSS 28, using a mixed methodology considering qualitative and quantitative aspects, the great influence that IT had among the Italian population during the lockdown common aspects of their everyday lives and incorporating some acquired habits (listening to music, for example) into their usual life routines after the return to normality was determined among other features and assessments. In summary, the text highlights how the pandemic influenced music consumption, the popularity of different music genres, the role of social media, and the enduring importance of the music itself in people's lives. It suggests that music remains a source of comfort and entertainment in challenging times. [ABSTRACT FROM AUTHOR]

The purpose of the work is to reveal the continuity of features of F. Chopin's Biedermeier Sonatas in the compositions of the same genre by K. Shymanovskyi, who in the first half of the 20th century became the same focus of the style of national music as it was a century earlier with regard to the works of F. Chopin. At the same time, the Polish national meaning of F. Chopin's music was formed against the background of the importance of kinship with Rococo in the music of the salon "noble Biedermeier" of the Restoration era, while the flowering of K. Shymanovskyi took place in Ukraine and Odesa based on the achievements of aristocratic and artistic salon art. The salon base brought together the work of Polish and Ukrainian-Polish composers, especially since "Chopinism" became a stable feature of Ukrainian piano creativity in contact with the traditions of the Polish-Ukrainian salon of the 19th century. The methodological basis of the study is the intonation approach in accepting the genetic unity of musical and speech principles in the concepts of B. Asafiev and B. Yavorskyi, as we have in the works of D. Androsova, O. Markova, I. Podobas, L. Stepanova, L. Shevchenko, with emphasis on the hermeneutic perspective of this approach. Moreover, highlighted are the biographical-descriptive methods, with an emphasis on its intellectual-biographical aspect (see generalisation in the work of V. Shulhina and O. Yakovlev), analytical-structural methods with a focus on the musicological specificity of the presentation of compositions, cross-species stylistic comparative. The scientific novelty of the research is determined by the independent direction of the Biedermeierian imitation, firstly, in the "large" forms, initiated by Chopin, and, secondly, on the specifics of the Biedermeierian "trace" in the modernist palette of symbolism, noted as a whole as the continuity of the salon setting in the culture of the first half of the 19th century on the verge of the 19th and 20th centuries. Conclusions. K. Shymanovskyi's awareness of the succession from Chopin, despite his concern for the modernisation of national thinking, stimulated the features of genre continuity from the Polish genius for the sake of presenting modernised findings in the same field. The eclecticism of citation in the Biedermeier method, most openly presented in the First Sonata by F. Chopin, has analogies in the emphasised reliance on M. Reger in the First Sonata by K. Shymanovskyi, a certain kinship of the methods of expression of Chopin's Second and Third Sonatas has analogies in the stylistic proximity of the Second and Third Sonatas Shymanovskyi, in which expressive "Scriabinisms" are emphasised, indicative of the Ukrainian stylistic palette of the 1910s - 1920s. At the same time, Biedermeier's salon manner of playing Chopin himself "facilitated" the feeling of stylistic quotations from L. Beethoven and J. S. Bach, while the performance of Shymanovskyi's Sonatas on "tight" instruments contributed to the "easiness" of textural embodiment, compared to the quasi-Listian sonata Scriabin's exposition. [ABSTRACT FROM AUTHOR]

In today's world, the rapid development of Chinese culture and its influence on the music scene underscore the necessity for systematic research into the Chinese piano chamber ensemble. The growing interest in this musical genre challenges many widely accepted notions about musical tradition and prompts a deeper understanding of its characteristics and impact on contemporary music art. The purpose of the research is to study and analyse the musical and cultural interrelationships within the Chinese piano chamber ensemble to better understand its essence and role in the modern music world. The research methodology is based on a comprehensive approach, incorporating analysis of musical material, historical and cultural methods, as well as comparative analysis. Modern theoretical concepts are applied to reveal the significance of the piano chamber ensemble in the context of cultural transformation and to examine the interaction and influence of national and non-national musical traditions on the formation of the musical genre, as well as its role in cultural exchange and interaction between different cultural traditions. The scientific novelty of the research lies in the first attempt to systematise and analyse the musical-cultural interrelationships within the Chinese piano chamber ensemble, which opens up new horizons for further understanding of musical culture and processes of cultural exchange in the contemporary world. The conclusions of the research testify to the importance of the Chinese piano chamber ensemble in contemporary music culture and its potential as a phenomenon of musical art. It not only reflects the interrelationship between national and non-national musical traditions but also serves as a significant factor in cultural exchange and interaction between different cultural traditions. [ABSTRACT FROM AUTHOR]

The purpose of the work is to substantiate the evolution of pipe art as a special phenomenon from archaic musical traditions to the present. The methodology. Significant for this work were historical, analytical, musicological, and cultural methods, which were used to reveal various aspects of flute art, including its evolution, use in different cultural and social contexts, and its impact on the music culture of Ukraine. The scientific novelty of the work is determined by its analytical perspective, which represents a comprehensive view of the history and evolutionary development of pipe art from archaic musical traditions to the present. Conclusions. The presented materials reveal the evolution of pipe art and its role in the modern world of musical performance and musical genres. Attention is focused on changes in materials and construction when making a musical instrument. The advantages of the chromatic flute as a unique instrument with a wide range of performance and musical-tonal possibilities are argued. The study demonstrates the significance and relevance of flute art for contemporary cultural and musical environments, opening up new prospects for future research in musicology. [ABSTRACT FROM AUTHOR]

This study examined a conjugate approach for evaluating auditory stimulus preference for 81 participants using force as a continuous response dimension. First, the researchers used a verbal preference assessment to evaluate each participant's preference for listening to five genres of music. This process identified high‐preference and low‐preference music for each participant. Thereafter, the researchers exposed each participant to the five music genres in a randomized order while using a hand dynamometer to measure their response force to increase the auditory clarity of the music. The results indicate (a) 63% of the participants' high‐preference music genres corresponded to the genre for which they exerted the highest mean force and (b) most participants' low‐preference music genres corresponded to the genre for which they exerted the lowest mean force. These findings are consistent with those from Davis et al. (2021) and further support using conjugate preparations for measuring the relative value of some stimulus events. [ABSTRACT FROM AUTHOR]

Convolutional neural networks (CNNs) have been successfully applied to music genre classification tasks. With the development of diverse music, genre fusion has become common. Fused music exhibits multiple similar musical features such as rhythm, timbre, and structure, which typically arise from the temporal information in the spectrum. However, traditional CNNs cannot effectively capture temporal information, leading to difficulties in distinguishing fused music. To address this issue, this study proposes a CNN model called MusicNeXt for music genre classification. Its goal is to enhance the feature extraction method to increase focus on musical features, and increase the distinctiveness between different genres, thereby reducing classification result bias. Specifically, we construct the feature extraction module which can fully utilize temporal information, thereby enhancing its focus on music features. It exhibits an improved understanding of the complexity of fused music. Additionally, we introduce a genre-sensitive adjustment layer that strengthens the learning of differences between different genres through within-class angle constraints. This leads to increased distinctiveness between genres and provides interpretability for the classification results. Experimental results demonstrate that our proposed MusicNeXt model outperforms baseline networks and other state-of-the-art methods in music genre classification tasks, without generating category bias in the classification results. [ABSTRACT FROM AUTHOR]

This paper aims to examine a brief study of Vada Nirnaya of Sangeet Samayasara by Acharya Parshvadeva. Indian music has a very ancient history. There is evidence of music in written form since the Vedic period. There are two types of aspects in music as follows- 1. Theoretical, 2. Practical. Although the practical part of music is very important, the importance of the theoretical part is not less than that. Both limbs have equal weight. The reason for this is that Pratyakshika was learned side by side in front of the Guru in the gurukula and the knowledge was propagated from one generation to the next; But with the idea of presenting this knowledge in a written or theoretical form to last forever, it is seen that many musical texts were created by many Rishis and Munis in different eras. This shows the invaluable contribution of theory as well as demonstration in music. Acharya Parshvadeva Krita Sangeet Samayasara Grantha was written in the 13th century. During this period Sharangdeva's Sangeet Ratnakara was established as a respected text in music. It is seen that most of the bibliographers of that time arranged their books on the basis of this book. Despite this Sangeet Samaysara appears to be very unique due to its unique musical principles. Religiously Parshvadeva is a Jain Acharya who played a very important role in the field of music and composed the book, Sangeet Samayasara; in which he has elaborated the new concept called 'Vada' along with all the three musical genres of the time i.e. singing, playing and dancing. In this present research paper, we will see a brief study of the vada nirnaya adhikarana in the Sangeet Samaysara grantha. [ABSTRACT FROM AUTHOR]

Copyright of Lingüística y Literatura is the property of Universidad de Antioquia, Facultad de Comunicaciones 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.)

Object-oriented micro-video background music recommendation is a complicated task where the matching degree between videos and background music is a major issue. However, music selections in user-generated content (UGC) are prone to selection bias caused by historical preferences of uploaders. Since historical preferences are not fully reliable and may reflect obsolete behaviors, over-reliance on them should be avoided as knowledge and interests dynamically evolve. In this article, we propose a Deconfounded Cross-Modal matching model to mitigate such bias. Specifically, uploaders' personal preferences of music genres are identified as confounders that spuriously correlate music embeddings and background music selections, causing the learned system to over-recommend music from majority groups. To resolve such confounders, backdoor adjustment is utilized to deconfound the spurious correlation between music embeddings and prediction scores. We further utilize Monte Carlo estimator with batch-level average as the approximations to avoid integrating the entire confounder space calculated by the adjustment. Furthermore, we design a teacher–student network to utilize the matching of music videos, which is professionally generated content (PGC) with specialized matching, to better recommend content-matching background music. The PGC data are modeled by a teacher network to guide the matching of uploader-selected UGC data of student network by Kullback–Leibler–based knowledge transfer. Extensive experiments on the TT-150k-genre dataset demonstrate the effectiveness of the proposed method. The code is publicly available on https://github.com/jing-1/DecCM [ABSTRACT FROM AUTHOR]

This paper investigates the extent to which the music of the 1960s counterculture, as opposed to the mainstream popular music of that era, impacted early second-wave environmental organisations in the 1960s and early 1970s. In this context, both a chi-square independence test and a Fisher's exact test of independence show that, based upon a corpus of environmental songs, secondwave environmentalism is featured more prominently in song lyrics which can be ascribed to countercultural popular musical genres than in song lyrics which can be ascribed to mainstream popular musical genres. Nevertheless, Cramér's V hints at a weak strength of association between these phenomena, and a qualitative analysis of the potential influence of the music of the 1960s counterculture on second-wave environmentalism substantiates the fact that the music of the counterculture neither had an impact on frame bridging nor on frame transformation processes. Consequently, it can be stated that a potential role of popular music in the amplification of second-wave pro-environmental frames during the investigated time period would have to be linked to both mainstream and countercultural musical genres. [ABSTRACT FROM AUTHOR]

In the twenty-first century, the emergence of Artificial Intelligence (AI) composers has become a notable phenomenon. What kind of music does AI produce and how do we comprehend the aesthetic value of music composed by AI? With this in mind, this study explores the musical style and aesthetics created by AI composition models. EVOM, Korea's first AI composition model, was selected as the subject of this research. EVOM has produced various works across art and popular music genres. By examining EVOM's musical works, this study delves into the aesthetic implications of AIgenerated music, focusing on the concept of 'posthumanism'. [ABSTRACT FROM AUTHOR]

Copyright of TURKAV Institute of Public Adminsitration Journal of Social Sciences / TÜRKAV Kamu Yönetimi Enstitüsü Sosyal Bilimler Dergisi is the property of TURKAV Institute of Public Adminsitration Journal of Social Sciences 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 study focuses on accent shift or stylization to American English features in Anglophone pop-rock music and examines linguistic constraints alongside music-related considerations, as well as the effect of changes in musical genre on variable accent shift. The case study is the British band Mumford and Sons and their variable production of non-prevocalic rhotics as either present or absent. Mumford and Sons is of interest because they have displayed a change in their musical style throughout their career from Americana to alt-rock. The band's four studio albums were auditorily analyzed and coded for rhotic vs. non-rhotic with aid from spectrograms. The linguistic factors considered were word class, preceding vowel according to the word's lexical set, complexity of the preceding vowel, syllable complexity, stress, and location within the word and phrase. In addition, the effect of singing-related factors of syllable elongation and rhyming, and of the specific album, were also explored. Results show that rhoticity is favored in content words, stressed contexts, complex syllables, and NURSE words. This pattern is explained as stemming from the perceptual prominence of those contexts based on their acoustic and phonological characteristics. Results further show that syllable elongation leads to more rhoticity and that rhyming words tend to agree in their (non-)rhoticity. Finally, the degree of rhoticity decreases as the band departs from Americana in their later albums, highlighting the relevance of music genre for accent stylization. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Turkish Music (TM) / Türk Müziği is the property of Young Wise Publishing 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 importance of Darülelhan and the subsequent compilation tours in the Republican period is of great importance for the creation of the Turkish Folk Music repertoire. These compilation tours constitute a large part of today›s Turkish Folk Music repertoire. It is noteworthy that there were no non-Muslims as source persons in the compilation activities. We believe that Folk Music culture is not composed of people of a certain nationality or belief; but of the geography that is home to that culture; and that the sphere of infuence of cultural elements is beyond the political borders that change in historical processes. Folk music genres with a wide range of performance areas have been more afected by this situation. As a result of our research, it was detected that most of the local people living in the Gokceada region of Çanakkale are non-Muslims and that no musical feld research has been conducted in this region before. The lack of studies in the region has led to the lack of scientifc determination of information such as the society›s connection with music, which instruments they use, and which genres are performed more in this region. It is thought that this study conducted in Gokceada is important in terms of identifying and recording the musical characteristics of that region. The study was conducted with the feld research method in the Gokceada region. The fndings were obtained by using the interview method with the source person identifed as a result of the research. The musical culture of the Gokceada region was analyzed by using a qualitative research model. Four fndings were obtained in line with the works performed by Timoleon Caknis, a Turkish citizen of Greek origin who performs the traditional music of Gokceada, and it was determined that the fndings were in the «zeybek» genre. The obtained works were recorded during the interview. After the interview with the source person was completed, dictations of the works were made. The notes were written with the MuseScore4 program. The study is considered to be important in terms of carrying out feld research and compilation trips, which are relatively neglected today, in an area that has not been visited before; determining that the zeybek genre exists even in the westernmost part of the country; recording the collected works before they are forgotten by the people living in that region; and contributing the four zeybek works to the music culture of the region and the Turkish Folk Music repertoire. It is suggested that more studies should be conducted in this feld and new feld research should be created. [ABSTRACT FROM AUTHOR]

Alzheimer's disease (AD), the most prevalent neurodegenerative disorder, is escalating globally. Characterized by cognitive decline, emotional instability, and neuropsychiatric symptoms, AD presents a growing challenge for effective management. Current pharmaceutical treatments, primarily acetylcholinesterase inhibitors and memantine, offer symptomatic relief but fail to halt disease progression or significantly address psychiatric manifestations. Consequently, non-pharmacological interventions, particularly music therapy, have garnered attention as potential adjunctive treatments. Musical memory is regarded as completely distinct from other memory processes, and patients with AD retain some musical recall despite the significant cognitive decline. In addition, music therapy is well-tolerated by the vast majority of patients and easy to administer. Herein, the mechanisms of music as a memory enhancer, how musical memory is preserved in AD, active and passive music therapy methods and their effects on each function, and factors affecting the efficacy of music therapy, such as music selection and genre, are discussed. Additional research is required to determine the optimal duration of music therapy sessions for patients to experience long-term benefits. In addition, as patients in severe stages cannot participate fully in music therapy sessions due to their disability, additional research finding a solution to this issue would be helpful. [ABSTRACT FROM AUTHOR]