Search Results (111)

Due to the effect of room acoustics on musical interpretation, a musician’s rehearsal may be greatly enhanced by leveraging virtual and augmented reality technology. This paper presents a preliminary study on a rehearsal tool designed for musicians, enabling practice in a virtual acoustic environment with audience-positioned playback. Fourteen participants, both professional and non-professional musicians, were recruited to practice with the rehearsal tool prior to performing in an unfamiliar venue. Throughout the rehearsal, the subjects either played in a virtual environment that matched the acoustics of the performance venue or one that was acoustically different. A control group rehearsed in an acoustically dry room with no virtual acoustic environment. The tool’s effectiveness was evaluated with two 16-item questionnaires that assessed quality, usefulness, satisfaction with the rehearsal, and aspects of the performance. Findings indicate that rehearsing in a virtual acoustic environment that matches the performance venue improves acoustic awareness during the performance and enhances ease and comfort on stage compared to practising in a different environment. These results support the integration of virtual acoustics in rehearsal tools to help musicians better adapt their performance to concert settings. Full article

Background/Objectives: Huntington’s disease (HD) is a neurodegenerative disorder involving the basal ganglia and is characterized by psychiatric, cognitive, and movement dysfunction, including gait and balance impairment. Given the limited efficacy of pharmacological treatments for HD motor symptoms, nonpharmacological approaches like rhythmic auditory stimulation are being explored. This study aims to describe walking performance in people with HD during rhythmic auditory stimulation using external musical cues and internal singing cues. Methods: Individuals in the manifest stage of HD performed walking in four conditions: (1) comfortable pace, (2) cognitive dual task, (3) musical cue (music was played aloud), and (4) singing cue (participants sang aloud). Sensors measured cadence, velocity, stride length, and variability. Relationships between change in cadence and motor and cognitive measures were explored. Results: While no direct measurements of synchronization were performed, limiting our interpretation, neither the external musical cue nor the singing cue significantly improved walking performance. Both cues increased variability, similar to what was observed during the dual task. Greater subjective balance confidence and better cognitive performance were associated with positive cadence change during cueing. Conclusions: Musical cues may be too cognitively demanding for individuals with Huntington’s disease as they worsen gait variability without increasing gait speed, cadence, or stride length. Although global cognition and perceived balance confidence were related to the ability to increase cadence, very few people were able to increase their cadence during either cue. Therefore, the results do not support the use of musical cues to improve gait for individuals with Huntington’s disease. Full article

Sacred choral music continues to hold a significant place in contemporary concert settings, with historical and newly composed works featuring in today’s choral programmes. Contemporary choral composers have continued to engage with the longstanding tradition of setting sacred texts to music, bringing fresh interpretations through their innovative compositional techniques and fusion of styles. Irish composer Rhona Clarke’s (b. 1958) expansive choral oeuvre includes a wealth of both sacred and secular compositions but reveals a notable propensity for the setting of sacred texts in Latin. Her synthesis of archaic and contemporary techniques within her work demonstrates both the solemn and visceral aspects of these texts, as well as a clear nod to tradition. This article focuses on Clarke’s choral work O Vis Aeternitatis (2020), a setting of a text by the medieval musician and saint Hildegard of Bingen (c. 1150). Through critical score analysis, we investigate the piece’s melodic, harmonic, and textural frameworks; the influence of Hildegard’s original chant; and the use of extended vocal techniques and contrasting vocal timbres as we articulate core characteristics of Clarke’s compositional style and underline her foregrounding of the more visceral aspects of Hildegard’s words. Clarke’s fusion of creative practices from past and present spotlights moments of dramatic escalation and spiritual importance, and exhibits the composer’s distinctive compositional voice as she reimagines Hildegard’s text for the twenty-first century. Full article

A process evaluation was embedded in the multinational Music Interventions for Dementia and Depression in ELderly care (MIDDEL) trial to better understand barriers and facilitators for implementing music-based interventions (MBIs). Stakeholders from 66 care home units across 5 countries completed a survey at baseline (n = 229) and after a six-month intervention period (n = 101), comparing expectations and experiences between countries, intervention groups, and stakeholders. MBIs were evaluated and found to be relevant and feasible. Barriers include a lack of support, turnover among employees, and a lack of motivation. Facilitators include individual stakeholders who proactively facilitate and stimulate implementation, as well as the presence of stable, well-functioning teams, clear communication, and adhering to project plans. Fewer barriers than expected related to care staff workload and the time needed for implementing new MBIs in care homes. MBIs can be beneficial for people with dementia, yet implementation in care homes can be challenging due to contextual factors. Involving stakeholders in key positions is essential: care home managers are pivotal for policy-making and the sustainable adoption of MBIs, whereas the commitment and the involvement of care staff are needed for day-to-day implementation. Insight into these barriers to and facilitators of implementation can contribute to the interpretation of trial results. Full article

This paper presents an analysis of G. P. Telemann’s Sonata in C Major for Recorder and Basso Continuo (TWV 41:C2, Allegro), with the aim of investigating the occurrence of perceptual streams. The presence of perceptual streams in musical works helps to organise the sound stimuli received by the listener in a specific manner. This enables each listener to perceive the piece in an individual and distinctive manner, granting primacy to selected sounds over others. Directing the listener’s attention to particular elements of the auditory image leads to the formation of specific mental representations. This, in turn, results in distinctive interpretations of the acoustic stimuli. All of these processes are explored and illustrated in this analysis. Full article

In music, plagiarism has been an important but troubled issue, which becomes ever more critical with the widespread usage of generative AI tools. Meanwhile, the development of techniques for music similarity detection has been hampered by the scarcity of legally verified data on plagiarism. In this paper, we present a technical solution for training music similarity detection models through the use of comparative imagery data. With the aid of feature-based analysis and data visualization, we conducted experiments to analyze how different music features may contribute to the judgment of plagiarism. While the feature-based analysis guided us to focus on a subset of features, whose similarity is typically associated with music plagiarism, data visualization inspired us to train machine learning models using such comparative imagery instead of using audio signals directly. We trained feature-based sub-models (convolutional neural networks) using imagery data and an ensemble model with Bayesian interpretation for combining the predictions of the sub-models. We tested the trained model with legally verified data as well as AI-generated music, confirming that the models produced with our approach can detect similarity patterns which are typically associated with music plagiarism. Furthermore, using imagery data as the input and output of an ML model has been proven to facilitate explainable AI. Full article

High-precision Direction-of-Arrival (DOA) estimation leveraging multi-sensor array architectures represents a frontier research domain in advanced array signal processing systems. Compared to traditional model-driven estimation methods like MUSIC and ESPRIT, data-driven approaches offer advantages such as higher estimation accuracy and simpler structures. Convolutional neural networks (CNNs) currently dominate deep learning approaches for DOA estimation. However, traditional CNNs suffer from limitations in capturing global features of covariance matrices due to their restricted local receptive fields, alongside challenges such as noise sensitivity and poor interpretability. To address these issues, we propose a novel Discrete Fourier Transform (DFT)-based deep learning framework for DOA estimation called DFNeT, leveraging the advantages of Fourier transform-enhanced networks in global modeling, computational efficiency, and noise robustness. Specifically, our approach introduces a DFT-based deep feature fusion network to denoise covariance matrices by integrating spatial and frequency-domain information. Subsequently, a series of DFT modules are designed to extract discriminative frequency-domain features, enabling accurate and robust DOA estimation. This method effectively mitigates noise interference while enhancing the interpretability of feature extraction through explicit frequency-domain operations. The simulation results demonstrate the effectiveness of the proposed method. Full article

This paper explores how sound design in the Harry Potter film series shapes the symbolic significance of written words within the magical world. Sound mediates between language and meaning; while characters gain knowledge by reading and seeing, viewers are guided emotionally and thematically by how these written texts are framed through sound. For example, Harry’s magical identity is signalled to viewers through the score long before he fully understands himself—first through music when he speaks to a snake, then more explicitly when he receives his letter from Hogwarts. Throughout the series, characters engage with a wide array of written media—textbooks, letters, newspapers, diaries, maps, and inscriptions—that gradually shift in narrative function, from static props to dynamic, multi-sensory agents of transformation. Using a close analysis of selected scenes to examine layers of utterances, diegetic sounds, underscore, and sound design, this study draws on metaphor theory and adaptation theory to examine how sound design gives writing a metaphorical voice, sometimes framing it as character, landscape, or moral authority. As the series progresses, becoming more autonomous from the literary source, written words take on greater symbolic significance, and sound increasingly determines which texts are granted narrative power, whose voices are trusted, and how viewers interpret truth and agency across media. Ultimately, written words in the films are animated through sound into agents of growth, memory, resistance, and transformation. Thus, the audio-visual treatment of written magic reveals not just what is written, but what matters. Full article

Deciphering the structural hierarchy of musical compositions is indispensable for a range of music analysis applications, encompassing feature extraction, data compression, interpretation, and visualization. In this paper, we introduce a quantitative model grounded in fractal theory to evaluate the significance of individual notes within a musical piece. To analyze the quantized note importance, we adopt a rhythm-based approach and propose a series of detection operators informed by fundamental rhythmic combinations. Employing the Mamba model, we carry out recursive detection operations that offer a hierarchic understanding of musical structures. By organizing the composition into a tree data structure, we achieve an ordered layer traversal that highlights the music piece’s multi-dimensional features. Musical compositions often exhibit intrinsic symmetry in their temporal organization, manifested through repetition, variation, and self-similar patterns across scales. Among these symmetry properties, fractality stands out as a prominent characteristic, reflecting recursive structures both rhythmically and melodically. Our model effectively captures this property, providing insights into the fractal-like regularities within music. It also proves effective in musical phrase boundary detection tasks, enhancing the clarity and visualization of musical information. The findings illustrate the model’s potential to advance the quantitative analysis of music hierarchy, promoting novel methodologies in musicological research. Full article

This paper introduces Harmonizer, a universal framework designed for tokenizing heterogeneous input signals, including text, audio, and video, to enable seamless integration into multimodal large language models (LLMs). Harmonizer employs a unified approach to convert diverse, non-linguistic signals into discrete tokens via its FusionQuantizer architecture, built on FluxFormer, to efficiently capture essential signal features while minimizing complexity. We enhance features through STFT-based spectral decomposition, Hilbert transform analytic signal extraction, and SCLAHE spectrogram contrast optimization, and train using a composite loss function to produce reliable embeddings and construct a robust vector vocabulary. Experimental validation on music datasets such as E-GMD v1.0.0, Maestro v3.0.0, and GTZAN demonstrates high fidelity across 288 s of vocal signals (MSE = 0.0037, CC = 0.9282, Cosine Sim. = 0.9278, DTW = 12.12, MFCC Sim. = 0.9997, Spectral Conv. = 0.2485). Preliminary tests on text reconstruction and UCF-101 video clips further confirm Harmonizer’s applicability across discrete and spatiotemporal modalities. Rooted in the universality of wave phenomena and Fourier theory, Harmonizer offers a physics-inspired, modality-agnostic fusion mechanism via wave superposition and interference principles. In summary, Harmonizer integrates natural language processing and signal processing into a coherent tokenization paradigm for efficient, interpretable multimodal learning. Full article

Konparu Zenchiku (1405–c. 1470) was the son-in-law of Zeami Motokiyo. Zeami is the most famous nō actor–writer–composer–showman–impressario, but Zenchiku brought nō back from the shōgun’s court to the temples, effectively resacralising the art form for a troubled, violent age. This paper asks whether Zenchiku’s approach to theatre has anything to teach us as contemporary creators and audiences in our own unstable era and, simultaneously, whether contemporary modes of interpretation, such as queer musicology, can highlight new aspects of Zenchiku’s work. Focusing on the under-studied and under-performed play Mekari—which dramatises a ritual cutting of seaweed at the Kanmon Strait between the islands of Kyūshū and Honshū as the new lunar year dawns—this paper explores how Zenchiku’s work plays with—crosses back and forth over—multiple physical, temporal, and spiritual boundaries in both its text and performance, leaving the audience with a sense of ambiguity and questioning the received wisdom of conventional capitalist reality. This paper concludes with a look at Kyōto School philosopher Ueda Shizuteru’s concept of the hollow expanse, or a place of limitless possibility. This paper argues that the audience viewing these ambiguities cultivated by Zenchiku’s sacred dramas—via the music, words, and staging together—might themselves be given a glimpse into the radically open place of the ‘hollow expanse’. The first full English translation of Mekari is included in Appendix A. Full article

One of the quintessential goals of musical instrument acoustics is to improve the perceived sound produced by, e.g., a violin. To achieve this, the connections between physical (mechanical and geometrical) properties and perceived sound output need to be understood. In this article, a single facet of this complex problem will be discussed using experimental results obtained for six violins of varying back arch height. This is the first investigation of its kind to focus on back arch height. It may serve to inform instrument makers and researchers alike about the variation in sound that can be achieved by varying this parameter. The test instruments were constructed using state-of-the-art methodology to best represent the theoretical case of changing back arch height on a single instrument. Three values of back arch height ($12.1$, $14.8$ and $17.5$ mm) were investigated. The subsequent perceptual tests consisted of a free sorting task in the playing situation and three two-alternative forced choice listening tests. The descriptors “round” and “warm” were found to be linked to back arch height. The trend was non-linear, meaning that both low- and high-arch height instruments were rated as possessing more of these descriptors than their medium-arch height counterparts. Additional results were obtained using stimuli created by hybrid synthesis. However, these could not be linked to those using real playing or recordings. The results of this study serve to inform violin makers about the relative importance of back arch height and its specific influence on sound output. The discussion of the applied methodology and interpretation of results may serve to inform researchers about important new directions in the field of musical instrument acoustics. Full article

Rock art sites located in areas inhabited by indigenous peoples offer extraordinary opportunities for interpretation using ethnographic analogy. Nonetheless, we must examine the pertinence of a direct historical approach when dealing with sequences of rock art that may extend back several millennia. Recent decades have witnessed increasingly sophisticated ethnographic analyses that reveal the intimate relations between human and non-human entities and the generative role of myth, music, dance, artifacts, and physical settings in the enactment of creative contexts of lowland South America. This literature has led to a reassessment of the meaning of rock art images, the significance of context, and the place of sites in the landscape. In the pictographs found in several rock shelters on the lower Parguaza River of Venezuela, depictions of a wide variety of human and non-human figures offer insight into the relations between predation, propitiation, food, illness, and the different paths to spiritual knowledge that prevail in the myths and practices of local indigenous populations to this day. In this contribution we explore the promise and limits of ethnographic analogy in the study of sites from this area and offer an analysis of the development of the sites through time, with an eye on both disruption and continuity. Full article

The current study examined how pre-service early childhood teachers, through invented notation activities, intra-act with the agency of music and the environment to achieve a process of becoming-music, grounded in Barad’s agential realism, presuming that it is necessary to consider the encounter with music itself rather than perceiving it as a ‘teaching subject’. The collected data included 54 sets of invented notations performed by 22 pre-service teachers, recorded videos of their performances driven by their interpretations, their journals, and observational records and notes by the researcher. Qualitative analysis was conducted based on the intra-actions between the pre-service teachers and music. In the invented notation activity, pre-service teachers initiated their engagement by encountering musical concepts and experimenting with diverse art materials as well as daily-life items. They generated sounds and created three-dimensional invented notations designed to guide the performance of the sounds. Furthermore, they deeply responded to the symbols within the invented notations, connecting their daily lives and music. They continued to realize the becoming-music through the ongoing generation of N-dimensional sounds. Pre-service teachers, through invented notation activities, experienced musical thinking not as an acquisition of pre-established knowledge and skills but rather through a direct encounter with music itself. This suggests that invented notation activities provide a sustainable learning environment by facilitating a dynamic entanglement with music. Furthermore, it indicates that post-humanism, which proposes a relational symbiosis between human and nonhuman entities, serves as a fundamental framework for education for sustainable development. Full article

This research contributes to the studies on the origins and transformations of Tchaikovsky’s Children’s Album, Op. 39 using the linguistic methods of discourse, metaphor, and comparative analysis to explore a number of connected questions and their impact on how the audiences and scholars perceive and understand the compositions. These methods are supported by the technology provided by computational linguistics, such as large language models along with music analysis algorithms based on signature pattern elicitation. This article examines how artificial intelligence technologies can shed light on the differing views on the Children’s Album. The meanings and implications of the published reordering of the pieces are explored. The influence of Schumann’s Album for the Young and the broader pedagogical and cultural significance of editorial transformations is investigated. Through this interdisciplinary approach, this study offers new insights into the compositional intent and interpretive possibilities of Tchaikovsky’s work. The presented results of the musicology, literary, computational, and linguistic analyses complement the few scholarly studies aimed at unveiling the intriguing metaphors and connections of the Children’s Album, which tend to remain in the shadows of his larger-scale piano and symphonic works. Full article