Learning a musical instrument: the case for parental support

The aims of this research were to identify the ways in which parents may most constructively support their children's musical development, and to ascertain whether styles of parent-teacher and parent-pupil interaction would influence the extent to which parents engage in different types of supportive behaviours. A model of parent involvement as comprising behavioural support, cognitive/intellectual support and personal support was applied to a sample of 337 parent-pupil-teacher trios, in the context of individual violin instruction. A typological approach was taken; using a quantitative survey that measured interpersonal interaction behaviours, as well as learning outcomes, six distinct categories of parent-pupil-teacher interaction types in instrumental learning were identified. The three categories of parental support were compared across these interaction types. The extent to which parents engaged in various types of support was found to vary according to interpersonal relating style, and the interaction types in turn were found to impact on learning outcomes. Learning outcomes, including enjoyment of music, motivation, self-esteem, self-efficacy and personal satisfaction with music lessons, were found to be enhanced when parents: (1) elicited their children's views regarding appropriate parental involvement, (2) negotiated with their children over practising issues, within parameters set by the teacher, (3) provided a structured home environment for practice, (4) took an interest in promoting good teacher-pupil rapport, (5) communicated with the teacher in relation to the child's progress and (6) remained as a supremely interested audience. © 2010 Taylor & Francis

Invariances and Data Augmentation for Supervised Music Transcription

This paper explores a variety of models for frame-based music transcription, with an emphasis on the methods needed to reach state-of-the-art on human recordings. The translation-invariant network discussed in this paper, which combines a traditional filterbank with a convolutional neural network, was the top-performing model in the 2017 MIREX Multiple Fundamental Frequency Estimation evaluation. This class of models shares parameters in the log-frequency domain, which exploits the frequency invariance of music to reduce the number of model parameters and avoid overfitting to the training data. All models in this paper were trained with supervision by labeled data from the MusicNet dataset, augmented by random label-preserving pitch-shift transformations.Comment: 6 page

Commercial Violin: Creating a Hybrid Twenty-First Century Collegiate Violin Curriculum

Despite the stylistically diverse professional music opportunities available to twenty-first century violinists, modern collegiate violin students are most often exclusively trained through traditional classical pedagogy. Conversely, violinists who perform commercial music often do not experience formal classical training, which provides functional foundational skills required of the professional violinist. There has yet to be a collegiate violin curriculum developed that incorporates elements of both classical and commercial music, allowing for diverse musical opportunities through structured and sequential pedagogy. This qualitative research study identifies, examines, and compares current classical and commercial collegiate violin methodologies simultaneously as a framework for the development of a new hybrid twenty-first century collegiate violin curriculum. It identifies ways that the commercial violinist might be underprepared for commercial viability when training exclusively with a traditional curriculum, and it defines areas in which the structure of classical violin pedagogy can impact the learning of commercial violin styles. The scope and sequence of traditional classical violin pedagogy, when paired with structured commercial violin studies grounded in stylistically diverse listening, provide viability to the twenty-first century violinist throughout the modern and diverse professional music landscape. This study encourages further research into the relationship between classical and commercial training throughout collegiate instrumental music education

Феномен камерно-ансамблевого виконавства: до питань професійної термінології

The purpose of the study. Within the theory of performance, methodologically studied in scientific works of E. Nazaikinskyi, V. Medushevskyi, the theory of chamber ensemble performing claims independent quality and appropriate conceptual and terminological framework. At present, there is a need for a common scientific and methodological foundation of theory and history of instrumental chamber ensemble performance, which should be based on understanding the processes of generic and species of chamber-ensemble genres and instrumental ensemble performance. The study of the problems of chamber-ensemble performance is inextricably related to questions of art-space in the ensemble subspecies, which requires expanding of conceptual and terminology according to a systematic approach to the study of the historical foundations and theoretical bases of chamber ensemble performance that transforms into a separate kind of music. Methodology of study consists in applying a systematic method that combines historical and theoretical approaches to the study of musicology processes of instrumental chamber ensemble genres and the art of chamber ensemble performance; hermeneutic method is used for the interpretation of concepts relating to chamber instrumental ensemble work. Scientific novelty. Expanding artistic interpretation of time-space, we propose an isolation of concept of instrumental ensemble performing time-space that provides different quantitative/qualitative indicators of ensemble structure, various types of communicating interactions, various acoustic and spatial conditions and the introduction of the concept of dynamotop as the process of harmonizing-balancing of simultaneous sound in different aesthetic, social-cultural and acoustic-spatial performance conditions. The proposed terminology of micro-structural, dynamic and articulation instrumental ensemble indicators extends the methodological basis of teaching and performing instrumental ensemble practice. Conclusions. Instrumental and ensemble performance is a system of combining personal artistic and performing intentions of each of the instrumentalists in an integrated common interpretation with the coordination of all the components of ensemble complex, which includes both direct psychological and communicative interaction of the participants – performers, as well as timbre, acoustic, dynamic properties of all instruments involved in the ensemble composition. This system includes mental sets at various levels of action: for practical playing activities, using professional skills and technology of instrumental performance, which involves long-term mental sets for living of artistic-sound image in real playing time, which involves short-term and simultaneous setting.Цель исследования. В рамках теории исполнительства, получившего методологическое обоснование в научных трудах Е. Назайкинского, В. Медушевского, теория камерно-ансамблевого исполнительства претендует на самостоятельное качество и соответствующий понятийно-терминологический аппарат. В настоящее время существует необходимость в создании общих научно-методологических основ теории и истории камерного инст- рументально-ансамблевого исполнительства, базирующихся на осмыслении процессов родового и видового развития камерно-ансамблевых жанров и инструментально-ансамблевого исполнительства. Исследование про- блематики камерно-ансамблевого исполнительства тесно связано с вопросами художественного хронотопа в ансамблевых подвидах, что предполагает расширение понятийно-терминологического аппарата в соответствии с системным подходом к изучению тех. исторических факторов и теоретических основ камерно-ансамблевого исполнительства, благодаря которым оно формируется в отдельную разновидность музыкального искусства. Методология исследования заключается в применении системного метода, объединяющего исторические и теоретические музыковедческие подходы к изучению процессов развития камерных инструментально-ансамблевых жанров и искусства камерно-ансамблевой игры; герменевтический метод использован для интерпре- тации понятий, касающихся камерного инструментально-ансамблевого творчества. Научная новизна. Расширяя трактовку понятия художественного хронотопа, предлагаем выделение понятия исполнительского инструмен- тально-ансамблевого хронотопа, предполагающего разные количественные/качественные показатели ансамбле- вого состава, разные типы коммуникативного взаимодействия, разные акустически-пространственные условия исполнения, и введение понятия динамотопа как процесса согласования-балансирования совместного звучання в разных эстетических, социокультурных, пространственных условиях исполнения. Предложенная терминология микроструктурных динамических и актикуляционных инструментально-ансамблевых показателей расширяет методологические основы педагогической и исполнительской инструментально-ансамблевой практики. Выводы. Инструментально-ансамблевое исполнительство является системой соединения личностных художественно- исполнительских намерений каждого из инструменталистов в целостную совместную интерпретацию с согласованием всех составляющих ансамблевого комплекса, предполагающего как непосредственное психологически- коммуникативное взаимодействие участников-исполнителей, так и тембральные, акустические, динамические свойства всех инструментов ансамбля. Данная система включает установки разных уровней действия: на практически-игровую деятельность, использующую профессиональные навыки, технологию инструментального исполнения, в котором задействованы длительные психологические установки, и на проживание художественно-звукового образа в реальном игровом времени, что задействует краткосрочные и симмультанные установки.Мета дослідження. В межах теорії виконавства, що отримало методологічне обґрунтування в наукових працях Є. Назайкінського, В. Медушевського, теорія камерно-ансамблевого виконавства претендує на самостійну якість та відповідний поняттєво-термінологічний апарат. На теперішній час існує потреба у створенні загальних науково-методологічних засад теорії та історії камерного інструментально-ансамблевого виконавства, що має базуватися на осмисленні процесів родового і видового розвитку камерно-ансамблевих жанрів та інструментально-ансамблевого виконавства. Дослідження проблематики камерно-ансамблевого виконавства нерозривно пов’язано з питаннями художнього хронотопа в ансамблевих підвидах, що потребує розширення поняттєво-термінологічного апарата у відповідності до системного підходу у вивченні тих історичних засад та теоретичних підстав камерно- ансамблевого виконавства, завдяки яким воно перетворюється на окремий різновид музичного мистецтва. Методологія дослідження полягає у застосуванні системного методу, що поєднує історичний та теоретичний музикознавчі підходи до вивчення процесів розвитку камерних інструментально-ансамблевих жанрів та мистецтва камерно-ансамблевої гри; герменевтичний метод використаний при інтерпретації понять, що стосуються камерної інструментально-ансамблевої творчості. Наукова новизна. Розширюючи трактування поняття художнього хронотопу, пропонуємо виокремлення поняття виконавського інструментально-ансамблевого хронотопу, що передбачає різні кількісні/якісні показники ансамблевого складу, різні типи комунікативної взаємодії, різні акустично-просторові умови, та введення поняття динамотопу як процесу узгодження-балансування спільного звучання в різних естетичних, соціокультурних, акустично-просторових умовах виконання. Запропонована термінологія мікроструктурних динамічних та артикуляційних інструментально-ансамблевих показників розширює методологічні основи педагогічної й виконавської інструментально-ансамблевої практики. Висновки. Інструментально-ансамблеве виконавство є системою поєднання особистісних художньо-виконавських намірів кожного з інструменталістів у цілісну спільну інтерпретацію з узгодженням всіх складових ансамблевого комплексу, який передбачає як без- посередню психологічно-комунікативну взаємодію учасників-виконавців, так і тембральні, акустичні, динамічні властивості всіх інструментів, залучених до ансамблевого складу. Дана система містить настанови різних рівнів дії: на практично-ігрову діяльність, що залучає професійні навички, технологію інструментального виконання, у якій задіяні довготривалі психологічні установки, та на проживання художньо-звукового образу у реальному ігровому часі, коли задіяні короткотривалі та симультанні установки

Auditory Spectrum-Based Pitched Instrument Onset Detection

In this paper, a method for onset detection of music signals using auditory spectra is proposed. The auditory spectrogram provides a time-frequency representation that employs a sound processing model resembling the human auditory system. Recent work on onset detection employs DFT-based features describing spectral energy and phase differences, as well as pitch-based features. These features are often combined for maximizing detection performance. Here, the spectral flux and phase slope features are derived in the auditory framework and a novel fundamental frequency estimation algorithm based on auditory spectra is introduced. An onset detection algorithm is proposed, which processes and combines the aforementioned features at the decision level. Experiments are conducted on a dataset covering 11 pitched instrument types, consisting of 1829 onsets in total. Results indicate that auditory representations outperform various state-of-the-art approaches, with the onset detection algorithm reaching an F-measure of 82.6%

Commentary on the Portfolio of Compositions submitted for the degree of Doctor of Philosophy by Composition

John Goodenough Doctor of Philosophy by Composition Durham University Department of Music 2014 Portfolio Contents 1. Ubi Caritas 2009 - for Violin & Piano 4.36 2. String Quartet 2010 - for String Quartet 5.15 3. Echoes of Poems & Prose 2010 - for small ensemble 32.45 4. Fountains 2011 - for String Quartet 4.45 5. Stato di Cambiamento 2012 - for large ensemble 5.10 6. Triptych 2012 - for small ensemble 5.20 7. Divergenza 2013 - for large orchestra 33.12 Total time 91.03 Other musical examples (not part of the portfolio) Sette archi spezzati 2013 - for small ensemble 5.28 This portfolio has three principal themes. The first, explored with the discussion of Ubi Caritas and the (2010) String Quartet, concerns the interpretation of harmony; that is harmony, plainly being the vertical component in music but having an inbuilt propensity for horizontal movement, including line and counterpoint. In echoes of Poems & Prose, there is a disregard for any horizontal reasoning, harmony is constrained to the point of isolation and focus fundamentally shifts to the chord as 'object'. I consider this 'objective' sense in detail, in subsequent music in this portfolio. A second theme hinges on a discussion of 'musical material' (the term devised by Theodor Adorno); this considered alongside Samuel Beckett's description of a relationship, between 'mess and confusion' (Beckett's terms for material) and the 'form' that contains it. In Echoes of Poems & Prose, I consider material explicitly, in particular the singular sound. With Fountains and Stato di Cambiamento control of the sounds and their overall architecture become increasingly obscure, with issues around form, substantively re-defining the compositional process. A third theme is the consideration of aspects of structure, which become of particular significance in the final pieces Triptych and Divergenza (the term 'structure' being as defined by John Cage). In Triptych, exploration is made of a confining form into which structural material grows; material that yields intensely colourful musical moments. In the final piece Divergenza, the Fibonacci sequence applies a vice-like grip on the material, but as I remove the conceptual dependence on this sequence, the music's intrinsic characteristics of rhythm and character grow to become of central importance

Music regulators in two string quartets: a comparison of communicative behaviors between low- and high-stress performance conditions

In ensemble performances, group members use particular bodily behaviors as a sort of “language” to supplement the lack of verbal communication. This article focuses on music regulators, which are defined as signs to other group members for coordinating performance. The following two music regulators are considered: body gestures for articulating attacks (a set of movements externally directed that are used to signal entrances in performance) and eye contact. These regulators are recurring observable behaviors that play an important role in non-verbal communication among ensemble members. To understand how they are used by chamber musicians, video recordings of two string quartet performances (Quartet A performing Bartók and Quartet B performing Haydn) were analyzed under two conditions: a low stress performance (LSP), undertaken in a rehearsal setting, and a high stress performance (HSP) during a public recital. The results provide evidence for more emphasis in gestures for articulating attacks (i.e., the perceived strength of a performed attack-type body gesture) during HSP than LSP. Conversely, no significant differences were found for the frequency of eye contact between HSP and LSP. Moreover, there was variability in eye contact during HSP and LSP, showing that these behaviors are less standardized and may change according to idiosyncratic performance conditions. Educational implications are discussed for improving interpersonal communication skills during ensemble performance

A Weighted Individual Performance-Based Assessment for Middle School Orchestral Strings: Establishing Validity and Reliability

The study established the validity and reliability of a weighted individual performance-based assessment tool within the utility scope of middle school orchestral strings. The following research questions guided this study: 1. What specific string-playing behaviors and corresponding criteria validate a weighted individual performance-based assessment tool for middle school orchestral strings? 2. What are the psychometric properties of the weighted individual performance-based assessment tool in authentic situations? For Research Question 1, the expert panel and I were able to 100% mutually agree on 10 string-playing behaviors: tempo, rhythm, tone, pitch, intonation, technique, bowing, dynamics, phrasing, and posture that created the DISAT. Being interdependent, these string-playing behaviors are relevant because they encompass every necessary facet of orchestral string performance (Zdzinski & Barnes, 2002). According to Zdzinski and Barnes (2002), an orchestral string performance assessment must evaluate each facet of a participant’s playing ability to rate the overall musicianship. Bergee and Rossin (2019) stated in their research that it is important to have various aspects of a performance utilized in a musical assessment. The DISAT obtained reliability of 0.872 by having enough variance between raters in the authentic situation. Linacre (2015) stated that reliability greater than 0.8 is acceptable to v distinguish separation between raters. Combined with the expert panel\u27s 100% mutual agreement on content validity, this proved the DISAT to be a valid and reliable assessment tool for individual performance-based orchestral strings assessment (AERA, APA, & NCME, 2014). The DISAT can be utilized by districts and middle school orchestral string music teachers in North Carolina. Being a consistent, objective tool, the DISAT can standardize our approach to middle school orchestral string music education assessment (AERA, APA, & NCME, 2014). The data collected by the DISAT could easily track the musical progression of students while giving opportunities for constructive, purposeful feedback

Audio-visual object localization and separation using low-rank and sparsity

The ability to localize visual objects that are associated with an audio source and at the same time seperate the audio signal is a corner stone in several audio-visual signal processing applications. Past efforts usually focused on localizing only the visual objects, without audio separation abilities. Besides, they often rely computational expensive pre-processing steps to segment images pixels into object regions before applying localization approaches. We aim to address the problem of audio-visual source localization and separation in an unsupervised manner. The proposed approach employs low-rank in order to model the background visual and audio information and sparsity in order to extract the sparsely correlated components between the audio and visual modalities. In particular, this model decomposes each dataset into a sum of two terms: the low-rank matrices capturing the background uncorrelated information, while the sparse correlated components modelling the sound source in visual modality and the associated sound in audio modality. To this end a novel optimization problem, involving the minimization of nuclear norms and matrix ℓ1-norms is solved. We evaluated the proposed method in 1) visual localization and audio separation and 2) visual-assisted audio denoising. The experimental results demonstrate the effectiveness of the proposed method