Search Results (45)

With the exponential growth of digital music, efficiently identifying key music relationship nodes in large-scale music knowledge graphs is crucial for enhancing music recommendation, emotion analysis, and genre classification. To address this challenge, we propose MUSIGAIN, a GATv2-based adaptive framework that combines graph robustness metrics with advanced graph neural network mechanisms for multi-relationship mining in heterogeneous music knowledge graphs. MUSIGAIN tackles three fundamental challenges: the prohibitive computational complexity of exact graph-robustness calculations, the limitations of traditional centrality measures in capturing semantic heterogeneity, and the over-smoothing problem in deep graph neural networks. The framework introduces three key innovations: (1) a layer-wise dynamic skipping mechanism that adaptively controls propagation depth based on third-order embedding stability, reducing computation by 30–40% while preventing over-smoothing; (2) the DiGRAF adaptive activation function that enables node-specific nonlinear transformations to capture semantic heterogeneity across different entity types; and (3) ranking-based optimization supervised by graph robustness metrics, focusing on relative importance ordering rather than absolute value prediction. Experimental results on four real-world music knowledge graphs (POP-MKG, ROCK-MKG, JAZZ-MKG, CLASSICAL-MKG) demonstrate that MUSIGAIN consistently outperforms existing methods in Top-5% node identification accuracy, achieving up to 96.78% while maintaining linear scalability to graphs with hundreds of thousands of nodes. MUSIGAIN provides an efficient, accurate, and interpretable solution for key node identification in complex heterogeneous graphs. Full article

This article develops a theoretical framework for analyzing the roles of sound in character development in relation to issues of gender called the gendered character soundscape critique. This theoretical framework is applied to the character Mia Wallace from the film Pulp Fiction (1994) and illuminates the contrasting ways sound contributes to her characterization as a femme fatale. Mia Wallace is a significant character to examine because she is an iconic character, a pop culture sensation, the only female character that is predominately featured in the film, and has a dynamic character arc. The article argues that the music track, sound effects, and the absence of sound sexualize and objectify Mia Wallace within standards of hegemonic cinematic femininity, while the voice tracks work in two different ways. Mia Wallace’s voice opens a space for her to express her subjectivity and her point of view. Dialogue tracks shaped her as erotic, powerful and dangerous. However, in the final scene, the dialogue and absence of sound sexualize her and relegates her into an inferior subject position. This final scene concludes the femme fatale character arc of punishment for transgressing the hegemony and reestablishes the dominance of the patriarchal gender order over her. Full article

This article examines how K-Pop Demon Hunters (2025) portrays women’s agency and sorority while curating Korean cultural specificity within the context of global streaming. Adopting a Gender Media Studies approach, the study conducts a scene-indexed close reading of nine key sequences, applying a coding scheme (co-presence, agency, solidarity, body framing, choreography–camera, colour) and a cultural-codes matrix that classifies elements as retained, hybridised, or globalised. Findings show a consistent pattern: when two or more women protagonists appear together, agency and sorority co-occur; this is visible in the narrative arcs and through full-body staging, ensemble composition, and a persistent we/together rhetoric. Korean local specificity is divided by purpose: English-led song hooks extend transnational reach; retained social anchors (space, ritual, foodways, and folklore) preserve locality; and hybridised cues (stylised folklore; idol/traditional blends) manage cultural density without erasure. Authorship and industry context align with this encoding, combining a women centred creative core and Korean cast with on-screen emphasis on women’s friendship, repair, and shared agency. Two tensions remain: traditional attire in spectacle numbers, and the narrow body diversity in the idol-slim body ideal, inviting comparative and interpretative scrutiny. Overall, the case demonstrates how an animated musical can emphasise women’s empowerment and cultural specificity without reducing either to mere marketing tools. Full article

Romanian popular music has had a storied history across the last century and a half. Incorporating different influences at different times, today it boasts a wide range of both autochthonous and imported genres, such as traditional folk music, rock, rap, pop, and manele, to name a few. We aim to trace the linguistic differences between the lyrics of these genres using natural language processing and a computational linguistics approach by studying the prosodic, stylistic, syntactic, and sentiment-based features of each genre. For this purpose, we have crawled a dataset of ~14,000 Romanian songs from publicly available websites along with the user-provided genre labels, and characterized each song and each genre, respectively, with regard to these features, discussing similarities and differences. We improve on existing tools for Romanian language natural language processing by building a lexical analysis library well suited to song lyrics or poetry which encodes a set of 17 linguistic features. In addition, we build lexical analysis tools for profanity-based features and improve the SentiLex sentiment analysis library by manually rebalancing its lexemes to overcome the limitations introduced by it having been machine translated into Romanian. We estimate the accuracy gain using a benchmark Romanian sentiment analysis dataset and register a 25% increase in accuracy over the SentiLex baseline. The contribution is meant to describe the characteristics of the Romanian expression of autochthonous as well as international genres and provide technical support to researchers in natural language processing, musicology or the digital humanities in studying the lyrical content of Romanian music. We have released our data and code for research use. Full article

Background/Objectives: Cochlear implants (CIs) are a common treatment of severe-to-profound hearing loss and provide reasonable speech understanding, at least in quiet situations. However, their limited spectro-temporal resolution restricts sound quality, which is especially crucial for music appraisal. Many CI recipients wear a hearing aid (HA) on the non-implanted ear (bimodal users), which may enhance music perception by adding acoustic fine structure cues. Since it is unclear how the HA should be fitted in conjunction with the CI to achieve optimal benefit, this study aimed to systematically vary HA fitting parameters and assess their impact on music sound quality in bimodal users. Methods: Thirteen bimodal CI recipients participated in a listening experiment using a master hearing aid that allowed controlled manipulation of HA settings. Participants evaluated three music excerpts (pop with vocals, pop without vocals, classical) using the multiple-stimulus with hidden reference and anchor (MUSHRA) test. To assess the reliability of individual judgments, each participant repeated the test, and responses were analyzed with the eGauge method. Results: Most participants provided reliable and consistent sound quality ratings. Compared to a standard DSL v5.0 prescriptive fitting, modifications in compression settings and low-frequency gain significantly influenced perceived music quality. The effect of low-frequency gain adjustments was especially pronounced for pop music with vocals, indicating stimulus-dependent benefits. Conclusions: The study demonstrates that HA fitting for bimodal CI users can be optimized beyond standard prescriptive rules to enhance music sound quality by increasing low-frequency gain, particularly for vocal-rich pieces. Additionally, the testing method shows promise for clinical application, enabling individualized HA adjustments based on patient-specific listening preferences, hence fostering personalized audiology care. Full article

This paper explores different approaches to harmony tokenization in symbolic music for transformer-based models, focusing on two tasks: masked language modeling (MLM) and melodic harmonization generation. Four tokenization strategies are compared, each varying in how chord information is encoded: (1) as full chord symbols, (2) separated into root and quality, (3) as sets of pitch classes, and (4) as sets of pitch classes where one is designated as a root. A dataset of over 17,000 lead sheet charts is used to train and evaluate RoBERTa for MLM and GPT-2/BART for harmonization. The results show that chord spelling methods—those breaking chords into pitch-class tokens—achieve higher accuracy and lower perplexity, indicating more confident predictions. These methods also produce fewer token-level errors. In harmonization tasks, chunkier tokenizations (with more information per token) generate chords more similar to the original data, while spelling-based methods better preserve structural aspects such as harmonic rhythm and melody–harmony alignment. Audio evaluations reveal that spelling-based models tend toward more generic pop-like harmonizations, while chunkier tokenizations more faithfully reflect the dataset’s style. Overall, while no single tokenization method dominates across all tasks, different strategies may be preferable for specific applications, such as classification or generative style transfer. Full article

This article examines the use of satire in the song lyrics of two eco-themed pop songs: Talking Heads’s “(Nothing but) Flowers” (1988) and Anohni’s “4 Degrees” (2015). A close listening approach to these songs reveals ironic discrepancies between the experience produced by musical performance and the sentiments expressed in the song lyrics. A rhetorical framework informs how an examination of such discrepancies may enable new perceptions of the environmental theme to come to mind through what Charles A. Knight calls a satiric “frame of mind”. The satire in these songs not only targets attitudes to convey a moral judgment on them but also provokes audiences to undertake the task of self-examination. If successful, satire in popular song lyrics can contribute to the reconfiguration of listeners’ perceptions of the relationship between humans and nonhuman nature. Full article

This article highlights the importance of the discourse on sound media for the development of so-called “cosmic music” in Germany in the late 1960s and early 1970s. Already the slogan of the Ohr record label “Macht das Ohr auf” (Open up your ears) testifies to the awareness of Rolf-Ulrich Kaiser, the founder of the label, and the bands gathered around him about the impact of media on everyday practices and the reflection on the physiological effect of sound. In particular, this article focuses on the figure of Kaiser and his Buch der neuen Pop-Musik (1969), where the author stresses the emancipatory potential of popular music starting from the considerations put forward by H. Marcuse, T. W. Adorno and M. McLuhan. On the basis of these suggestions, Kaiser envisages the possibility of a ‘functional transformation’ of sound media, placing himself in a long German tradition of reflections on the relationship between man and technology, in which it is possible to identify a line that proposes a progressive and socialist use of technical reproduction apparatuses (Benjamin, Brecht, Enzensberger) and another line that questions the connection between media and mystical experience (Mann, Hesse). In this sense, this paper explores the intellectual and literary context of the media anthropology on which the sound aesthetics of German cosmic music was founded. Full article

The Korean popular music (K-pop) industry, with its global popularity and increasing multilingual orientation, serves as a suitable context for exploring language perceptions. This research examines the metalinguistic commentary on K-pop idols’ English accents on YouTube. Specifically, we investigate how online users evaluate the idols’ English accents and how their metalinguistic comments communicate linguistic ideologies that favor a “native” way of speaking. Our dataset consists of 602 metalinguistic comments drawn from four popular YouTube videos featuring the evaluation of K-pop idols’ accents. We employ content analysis to first categorize comments into positive, negative, and neutral evaluations, then focus on aspects being evaluated in the users’ comments (e.g., social attractiveness and (non-)nativeness). The results indicate that a vast majority of comments (88.1%) convey positive evaluations, largely associating the idols’ accents with social appeal and native-like accents. Although a few neutral and negative evaluations exist, our result shows a dominant preference for inner circle accents and complex attitudes toward accented speech in digital spaces. We conclude by highlighting the influence of digital platforms in shaping language perceptions and the implications for linguistic stereotyping in the context of K-pop culture. Full article

This text explores the life and legacy of Sergei Kuriokhin, a multifaceted artist who profoundly impacted Soviet and post-Soviet culture. Known for his radical experimentation in music, theater, and film, Kuriokhin defied conventional genres through his groundbreaking project, ‘Pop Mechanics’, which blended jazz, classical music, rock, circus acts, and more. His provocative performances often included surreal elements and bizarre satire, challenging cultural norms and the boundaries of Soviet censorship. Kuriokhin’s influence extended into politics, where his satirical “Lenin was a Mushroom” program questioned historical and ideological narratives, stirring public debate. His charisma, intellectual depth, and penchant for the absurd made him a central figure in Leningrad’s avant-garde scene. Kuriokhin collaborated with prominent artists and philosophers, leaving an indelible mark on Russian art and political discourse. This work, presented through the reflections of his close associates, offers insights into his lasting impact on Russian culture, blending history with personal mythologies. Full article

The article explores the unique friendship and creative synergy between two towering figures of late Soviet underground culture, the avant-garde jazz musician Sergei Kuriokhin and the poet Arkady Dragomoshchenko. Both outsiders in Leningrad, they shaped its literary and musical landscapes without aligning with any movements. Dragomoshchenko, a seminal poet, defied categorization, while Kuriokhin, a polymath, challenged conventions across music, performance, and politics. Their collaboration epitomized innovation, blending Dragomoshchenko’s cerebral poetry with Kuriokhin’s avant-garde music. Despite linguistic barriers, their connection transcended verbal communication, rooted in shared modes of nonlinear thinking and creative experimentation. Kuriokhin’s revolutionary Pop Mekhanika, a chaotic fusion of genres and sensory experiences, mirrored Dragomoshchenko’s relentless poetic evolution. Their friendship catalyzed pivotal encounters, such as with the American poet Lyn Hejinian, expanding their artistic horizons. Dragomoshchenko’s poetic vision, centred on perception’s fleeting nature and the boundaries of possibility, echoed Kuriokhin’s multisensory assaults on audience expectations. Through their unconventional artistry, Kuriokhin and Dragomoshchenko navigated the shifting cultural landscape of late Soviet society, embodying a spirit of defiance and exploration. Their enduring influence transcends their untimely deaths, leaving an indelible mark on Russian avant-garde culture. Full article

This study examines the influence of K-pop consumers’ (online/offline) fandom activities on their happiness and their contemporary Christian music (CCM) listening intention and does so considering two base theories: activity theory and the content theory of motivation. In this context, we also examine the influence of happiness and CCM listening intention on CCM loyalty (word of mouth/purchase). We focus on global consumers of K-pop (people with experience in online/offline K-pop fandom activities) from two countries: the US and the UK. For our investigation, we surveyed these consumers between 1 April and 30 September 2022 through two global research agencies, namely Entrust Survey and META G DATA lnc. We received valid responses from 331 participants. We then used structural equation modeling to analyze the data and found the following: First, although K-pop consumers’ online fandom activities did not have a statistically significant effect on their happiness, their offline fandom activities did. Second, their fandom activities had a statistically significant positive effect on their CCM listening intention, although their offline fandom activities did not. Third, their happiness also had a statistically significant positive effect on their CCM listening intention. Ultimately, their happiness and CCM listening intention had a statistically significant positive effect on their loyalty (CCM word of mouth/purchase). We identified a new trend and applied it in the context of K-pop culture and CCM, thereby contributing to consumer psychology studies through creative/innovative empirical research. Full article

Augmenting the author’s prior research on lyrical code-switching, as presented in Picone, “Artistic Codemixing”, published in 2002, various conceptual frameworks are made explicit, namely the enlistment of multimodal and intertextual approaches for their methodological usefulness in analyzing and interpreting message-making that incorporates lyrical code-switching as one of its components. Conceived as a bipolarity, the rooted (or local) and the transcendent (or global), each having advantages in the negotiation of identity, is also applied to the analysis. New departures include the introduction of the notion of “curated lyrical code-switching” for the purpose of analyzing songs in which multiple performers are assigned lyrics in different languages, as a function of their respective proficiencies, as curated by the person or persons having authorial agency and taking stock of the social semiotics relevant to the anticipated audience. Moving beyond the negotiation of the identity of the code-switching composer or performer, in another new departure, attention is paid to the musical identity of the listener. As a reflection of the breadth of lyrical code-switching, a rich assortment of examples draws from the musical art of Beyoncé, Jon Batiste, Stromae, Shakira, BTS, NewJeans, Indigenous songsmiths, Cajun songsmiths, Latin Pop and Hip-Hop artists, songs composed for international sports events, and other sources. Full article

The seventeen UN SDGs address critical global challenges. Among them, Goal 10—reducing inequality—and Goal 16—promoting peace, justice, and strong institutions—serve as foundational pillars in democracies, enabling the achievement of all other goals. Children, youth, and persons with disabilities are among those who stand to benefit most from these goals. Insights from the naturalistic decision-making practices of intentional communities, often framed as Contenders or Deviants in social construction theory, could be instrumental in advancing these objectives. This study examines the decision-making practices of three intentional communities representing youth, disabled persons, and children, each fostering a different version of equitable, peaceful, and justice-oriented governance to build strong institutions. The communities studied include a self-producing Korean popular music (K-pop) group representing youth Contenders, a mental health-supporting annual English conference for individuals on the autistic spectrum, and a Canadian alternative education, self-directed public senior elementary and secondary school—both considered Deviant societies in social construction theory, one focusing on disabled persons and the other on children. The historical method assesses the effectiveness of these communities’ preferred practices in achieving Goals 10 and 16. The results offer actionable insights for enhancing equality, peace, and justice while strengthening institutions to realize the full range of UN SDGs in democratic societies. Full article

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. Full article