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Recently, the craze of K-POP contents is promoting the development of Korea's cultural and artistic industries. In particular, with the development of various K-POP contents, including dance, as well as the popularity of K-POP online due to the non-face-to-face social phenomenon of the Coronavirus Disease 2019 (COVID-19) era, interest in Korean dance and song has increased. Research on dance Artificial Intelligent (AI), such as artificial intelligence in a virtual environment, deepfake AI that transforms dancers into other people, and creative choreography AI that creates new dances by combining dance and music, is being actively conducted. Recently, the dance creative craze that creates new choreography is in the spotlight. Creative choreography AI technology requires the motions of various dancers to prepare a dance cover. This process causes problems, such as expensive input source datasets and the cost of switching to the target source to be used in the model. There is a problem in that different motions between various dance genres must be considered when converting. To solve this problem, it is necessary to promote creative choreography systems in a new direction while saving costs by enabling creative choreography without the use of expensive motion capture devices and minimizing the manpower of dancers according to consideration of various genres. This paper proposes a system in a virtual environment for automatically generating continuous K-POP creative choreography by deriving postures and gestures based on bidirectional long-short term memory (Bi-LSTM). K-POP dance videos and dance videos are collected in advance as input. Considering a dance video for defining a posture, users who want a choreography, a 3D dance character in the source movie, a new choreography is performed with Bi-LSTM and applied. For learning, considering creativity and popularity at the same time, the next motion is evaluated and selected with probability. If the proposed method is used, the effort for dataset collection can be reduced, and it is possible to provide an intensive AI research environment that generates creative choreography from various existing online dance videos.
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The COVID-19 pandemic struck when Uganda was in the middle of an acrimonious campaign season, in which longstanding president Yoweri Museveni was being challenged by Bobi Wine, a reggae singer turned politician. When Museveni imposed a strict lockdown, musicians sympathetic to Wine responded with songs about COVID-19 that challenged the government's short-term, biopolitical demarcation of the national emergency. Pier and Mutagubya interpret a selection of Ugandan COVID-19 pop songs from 2020, considering in musical-historical perspective their various strategies for re-narrating the health crisis.
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In practice, this typically translates to a combination of consuming less and consuming differently, for instance, by replacing single-use items with reusables and fossil fuels with renewable energy sources, in order to "meet the needs and aspirations of the present without compromising the ability to meet those of the future" (Brundtland 1987: n.p.). A growing body of scholarship looks at this type of sustainability in the music industry, primarily focusing on the environmental impact of top-tier touring rock bands and large festivals (for instance, Mair and Laing 2012;Cummings 2014).1 While some high-profile musicians have chosen in recent years to leave the road until more sustainable modes of touring can be found (BBC News Services 2019), this is not an option for most performing musicians, especially given the sharp downturn in record sales in recent years due to streaming. Participants in an epistemic community may be both academic and non-academic;what they have in common are shared "normative and principled beliefs," which provide a rationale for their proposed actions;shared "causal beliefs," which are based on an analysis of current - potentially problematic - practices and which inform possible courses of action;shared "notions of analysis for the action";and "a common enterprise," which Harrison has described as "a set of common practices associated with the problem or problems to which their competence is directed, presumably out of the conviction that human welfare will be enhanced as a consequence" (2012: 521-22;following Haas 1992). The Sustainable Touring Arts Coalition I have worked as a freelance fiddler since the mid 1990s, performing at concerts and festivals, recording and producing albums, and teaching at summer music camps and weekend workshops. [...]taking a position as a full-time
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Within the field of music education, there is extensive literature that speaks to the importance of singing for an individual's musical development (Williams, 2019;Welch, 2012). Aside from its musical benefits, Welch (2012) identifies the role of singing in improved respiratory and cardiac function, communication skills, and sense of social inclusion. With a more thorough understanding of TIVC, music educators will be better equipped to assess their students' voices and address their vocal needs during voice change. By expanding vocal pedagogy lessons to include voice change and its impact on vocal anatomy, music educators can provide clarity for adolescent boys as they navigate their changing voices.
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Criada em 2010, no Rio de Janeiro, a Queremos! surgiu com uma proposta ¡novadora de aproximar fãs e artistas através de uma estrutura de finandamento coletivo, que possibilitava a viabilização de shows em localidades que normalmente não estariam contempladas nas turnês originais. Após um reposicionamento do modelo de negocios em 2013, a empresa abandona o modelo de crowdfunding que a fez famosa para se especializar na produção de eventos ao vivo, o que lhe possibilitou, além de uma incursão para os EUA entre 2013 e 2016, a expansão da marca com forte presença nas principais capitals brasileiras nos anos seguintes. No entanto, após seu melhor ano em 2019, a empresa foi surpreendida pela pandemia da COVID-19, que afetou drasticamente o setor de entretenimento e live-events no Brasil e no mundo. O caso coloca o leitor no papel dos sócios da empresa, de forma a refletir sobre os desafios estratégicos e operacionais que a Queremos! teve de enfrentara partir da proibição dos eventos ao vivo devido à pandemia. O caso é indicado para alunos de graduação e pós-graduação de cursos de administração e produção cultural preocupados em discutir temas e conceitos ligados à área de planejamento em tempos de incerteza, análise de risco, gestão da mudança, modelagem de negócios, e inovação em startups.Alternate :Creada en 2010, en Río de Janeiro, Queremos! ideó una propuesta innovadora para acercar a fans y artistas a través de una estructura de crowdfunding que hizo posible realizar espectáculos en lugares que normalmente no estarían cubiertos en las giras originales. Tras un reposicionamiento del modelo de negocio en 2013, la empresa acaba abandonando el modelo de crowdfunding que la hizo famosa para especializarse en la producción de eventos en directo, lo que le permitió, además de una incursión en EE. UU. entre 2013 y 2016, expandir la marca con fuerte presencia en las principales capitales brasileñas en los años siguientes. Sin embargo, luego de su mejor año - 2019 la empresa fue sorprendida por la pandemia de COVID-19, que afectó drásticamente el sector de entretenimiento y eventos en vivo en Brasil y en el mundo. El caso pone al lector en el papel de los socios de la empresa, para reflexionar sobre los desafíos estratégicos y operativos que Queremos! tuvo que enfrentar desde la prohibición de eventos en vivo debido a la pandemia. El caso está indicado para estudiantes de grado y posgrado de carreras de administración y producción cultural, preocupados por discutir temas y conceptos relacionados con el área de planificación en tiempos de ¡ncertidumbre, análisis de riesgos, gestión del cambio, modelado de negocios e innovación en startups.Alternate :Created in Rio de Janeiro in 2010, Queremos! came up with an innovative proposal to bring fans and artists together through a crowdfunding structure, which made it possible to perform shows in locations that normally would not be covered in the original tours. After repositioning the business model in 2013, the company abandoned the crowdfunding model that made it famous and focused on the production of live events. This enabled an expansion to the USA between 2013 and 2016 and gave the brand a strong presence in the main Brazilian capitals in the following years. However, after its best year in 2019, the company was surprised by the COVID-19 pandemic, which drastically affected the entertainment and live events sector in Brazil and worldwide. The case puts the readers in the role of the company's partners in order to reflect on the strategic and operational challenges that Queremos! had to face from the prohibitions on live events due to the pandemic. The case is recommended for undergraduate and graduate students of administration and cultural production courses concerned with discussing topics and concepts related to the area of planning in times of uncertainty, risk analysis, management of changes, business modeling, and innovation in startups.
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Yet, while there is indeed evidence of accessibility and inclusivity initiatives in the live music industry (Bossey, 2020), the supposed benefits of concerts and music festivals as open, inclusive, egalitarian, and positive are undermined by reports of sexual assault and the need for safe space policies within those same sites (Arnold, 2018;Hill et al., 2019). Moving to live music regulation practices, Jacopo Costa's article examines Espace Django, a French concert venue that benefits, like many French institutions, from state funding. [...]Arno van der Hoeven et al. analyse the methodologies used for measuring the value of live music and discuss the strengths and weaknesses of these.
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The COVID-19 pandemic brought the live concert industry to a near halt and led many performing artists to rethink the way they connect with their audiences. One effort to continue performing despite pandemic-related restrictions was to shift live performances to virtual streaming and bring the live concert experience directly to fans living rooms. However, little is known about the determinants of virtual live concert (VLC) satisfaction. This study aims to identify which factors constitute audience satisfaction with VLCs and to examine the importance of each element. A total of 533 participants who attended BTSs Map of the Soul ON:E concert in 2020 were recruited to investigate their VLC satisfaction. The results of confirmatory factor analysis show that three dimensions-artist, audio quality, and virtual stage appearance-constructed the concept of VLC satisfaction. Analysis of covariance (ANCOVA) also revealed that video device type and previous live concert experiences were significant factors for VLC satisfaction, but not audio device type. In addition, celebrity identity and celebrity attitude were significantly and positively related to audiences satisfaction with VLC. The outcome of this study demonstrates the opportunities of VLC as an alternative and expanded media channel of audience engagement.
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In the case of the previous score, it can be observed that it is written not just for traditional instruments like cello and viola de gamba (instruments the dedicatee used to play) but also for "angels choir" and "angels trumpets", which have a pictorial association to numerous paintings in art history. [...]it is an essay about the meaning of the bow in music, both physical and graphically (legato bows form different pictorial elements to be interpreted by the viewer). If musicians have to perform many of the works of Still Life with Silence, they will not reproduce the written music in the physical world but in their heads (this might lead to more body gestures in the stage interpretation as these are recorded in musicians). There is an event from 2013, which caused a big impact on me and in my ideas about the representation of the inner voice: during rehearsals of my work The Rest is Silence (the first existing silent opera, written entirely with rests) the singers were rehearsing (without any indications by myself) the rests playing on the piano approximate pitches corresponding to the location and duration of the rests memorize what they could hear in their heads and then silently reproduce on the stage.
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In the context of information security, the aesthetics and data privacy security of multinational children’s songs are studied. The research collects the data of foreign children’s songs, and on the basis of the collected data, the mathematical model of the children’s song text is constructed by using a random matrix. An industry consisting of various media entities that disseminate information is analyzed. In addition, vocal performance is used to improve children’s aesthetic ability and comprehensive quality. An efficient information hiding scheme based on the random matrix is proposed. Furthermore, by establishing a random matrix to optimize the information scheme hidden in the multinational children’s songs, the textual expression efficiency of children’s songs is improved. The results reveal that when the model is iterated for 200 times, the traditional algorithm has only a recognition accuracy of 0.73 for children’s songs, and the recognition accuracy of the convolution neural network (CNN) model can reach 0.76, while the proposed improved deep neural networks (DNN) algorithm model has the best recognition accuracy, which can reach 0.80. It explores how to better meet children’s aesthetic and cultural needs from the perspective of information security by optimizing the semantic indexing algorithm of random matrix mapping elements. Through the performance test of the algorithm, on account of reducing the time complexity of the algorithm, the classification accuracy of children’s song text can be effectively improved. This exploration has practical reference value for cultivating children’s comprehensive quality and aesthetic ability.
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[...]numbers could be moved from one opera to another with no detriment to the latter work's dramatic structure, so long as they still reflected the emotions expressed by the original. Initially planned as an in situ event, the Covid-19 pandemic meant that it took place online, which – despite the lack of human contact – helped boost the number of observers and the reception of the event among opera and theatre scholars. Berthold Over (Universität Greifswald), in his paper ‘The Art of Cooking a Pasticcio: Musical Recipes and Ingredients for Pasticcio Operas’, employed culinary analogies to explain the concept of ‘unity in diversity’ that was typical of this genre. Barbara Wiermann (Sächsische Landesbibliothek – Staats- und Universitätsbibliothek, Dresden), in ‘Source Studies – Authority Data – Digital Musicology’, highlighted the fluid concept of the work in the pasticcio genre and also the diversity of the relevant sources, which today results in numerous problems with standardizing data.
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Of particular note was a leaf of Beethoven's transcriptions from the poetry of Herder alongside his own personal reflections on the power of nature, written first in pencil – apparently outdoors – before being inked over (Zweig MS 15). Visitors could place their elbows on a wooden panel and clasp their hands over their ears, allowing the vibrations created by the music to be conveyed from the panel via bones in the elbow and upper arm to the inner ear, thus bypassing the ear canal. Franz Xaver Stöber's engraving of Beethoven's funeral procession provided a striking visual representation of the unprecedented scale of and public interest in the event.
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Paul eventually became lead GP and clinical director for North Sheffield Primary Care Trust in 2003, while playing violin around the UK with several groups and orchestras, and latterly around mainland Europe with the European Doctors Orchestra. The premature death of his niece Jessica in 1994 took Paul back into direct clinical work as a GP because he felt that the most personally meaningful contribution he could make to health was at an individual level. Paul Schatzberger (b 1950;q University College London Hospital, 1973;MRCGP, MFPHM), died from acute renal failure due to colitis induced by immunotherapy for metastatic renal cell carcinoma on 29 December 2020
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As the global pandemic rapidly spreads, distance learning is emerging as a new method of instruction. Particularly, traditional courses that must be taught in-person, such as vocal singing instruction, require immediate adaptation to the COVID-19 and the new distance learning model. However, in the process of distance learning, it is frequently impossible to tailor and personalize instruction, particularly for vocal singing courses. Educational researchers are confronted with the pressing issue of how to extract useful and personalized patterns from a large volume of learner data in order to customize and individualize instruction. In this paper, we propose applying the decision tree method from data mining technology to a vocal singing education system by categorizing students according to the model. Once the characteristics of various learners have been stored in the corresponding user database, teachers can access timely information regarding the learners’ most recent learning situation. This can be used as the basis for differentiating instructional strategies for various learners. This allows the instructor to designate individualized teaching and learning strategies for each student.
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The Anthropocene is noisy, sonic and full of music. The emergence of listening as method has been brought to the forefront of the arts/science/creativity nexus. Less invasive, and rich in outcomes than other methods, this approach highlights that our need to listen to our planet and each other has never been more urgent. In the pre-COVID cacophony of the seemingly dying embers of late-stage capitalism, the world was flooded with divisive rhetoric pushing our world further into the isolating social silence of the market of one. In 2020, the proliferation of a Global pandemic seemed to change the music of the planet and its people. In the year that was, with one ear we could hear the calls for meaningful change in the Black Lives Matter Movement and Extinction rebellion, and with the other ear the endless dull roar of neo-feudal corporatism brought about the storming of a capital, the raucous argument for economy over humanity, and the continued cries as the environment was being sacrificed at the altar of the almighty dollar. And yet, for one short minute, the earth stood still. We could hear the seas again. Our ceasing of an endless need for consumption and travel heard the return of moments of meaningful stillness.
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The first track is Muted Lines, for Horrocks-Hopayian's voice, Trish Clowes’ saxophone and John Hargreaves’ London Symphony Orchestra. The track transitions into a jazzy saxophone solo that had me feeling as though I'd walked into the wrong movie theatre;afterwards, though, she makes sense of the harmony by folding the blue note into her singing in an expert way both as composer and vocalist. Ser (‘love’ in Armenian) uses only that word as its text in a stirring choral work written to mark the 100th anniversary of the Armenian genocide.
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The COV1D-19 pandemic forced classical musicians to cancel in-person recitals and concerts and led to the exploration of virtual alternatives for engaging audiences. The apparent solution was to livestream and upload performances to social media websites for audiences to view, leading to income and a sustained social media presence;however, automated copyright enforcement systems add new layers of complexity because of an inability to differentiate between copyrighted content and original renditions of works from the public domain. This article summarizes the conflict automated copyright enforcement systems pose to classical musicians and suggests how libraries may employ mitigation tactics to reduce the negative impacts when uploaders are accused of copyright infringement.
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Emotions are running high. The disruptive events characterizing 2020-a global pandemic, climate-related disasters, economic uncertainty, and social discontent-are leading employees to bring a higher level of emotionality to work than ever before. This is clashing with the culturally ingrained norm that an appropriate "professional" demeanor minimizes emotional expression. At the same time, work on emotional suppression suggests that there are long-term costs to keeping emotions buried and that, if stifled, they will erupt in counterproductive ways. For that reason, leaders can no longer avoid taking an active role in architecting emotional landscapes-the collective composition of employee sentiments. Here, Sanchez-Burks et al discuss how leaders can manage the loaded emotional settings they're working in and help creativity and productivity thrive.
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Tween Pop: Children's Music and Public Culture, by Tyler Bickford is reviewed.
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[...]to fight against emotional and social isolation as we practice physical distancing, we have taken up practices and actions that allow us to feel a sense of connection: video calling loved ones, eating dinner together through our screens, dropping off baked goods on neighbours' steps, plastering messages of hope in windows facing the street, honking as we pass the homes of people celebrating birthdays or other milestones. Musicians have taken to podcasts as a way to stay connected, to talk about their Covid-19 music experience to fans, or to collaborate with other artists who have also been disconnected from their audiences.1 Community radio stations are demonstrating creativity and leadership by developing kids' programming that supports both caregivers and children, as well as works to exist within the economic downturn.2 We have turned to music in an effort to find a sense of joy, peace, comfort, and community. Depending on the genre and the style of performance in question, there are various people playing various roles;in live performances, some of these are obvious - composers, performers, listeners, producers, engineers, among others - but some are less overt (9): the architects and construction workers who built the concert hall, the cleaners who prepare the space, the fellow patrons who shuffle into the venue and take their seats, the bartender who serves you drinks between sets, even the transit employees or taxi drivers who get you home after the show. In his article "Exploring, Affirming, Celebrating - and Teaching," Small argues that "musicking has long functioned as a means of self-definition, who we are or think we are socially" (2016: 193). [...]it makes sense for us to think about the potentially significant relationships between musicking and queer-ness, queer-ing, and queer identities.
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On December 2, 2020, Lance Strate, who was at the time President of the New York Society for General Semantics (NYSGS), convened a virtual session in place of the monthly sessions he had coordinated, until the time of COVID-19, at The Players Club in New York City. One of the unforeseen benefits of holding virtual sessions during COVID times was that local organizations like the NYSGS were able to spread their net much wider in terms of both presenter-participants and audience. For this particular occasion, Lance invited a group ofjazz composer-musicians from Chicago and the San Francisco Bay area who he discovered while surveilling the Internet for mentions of general semantics. The group, the Geof Bradfield/Ben Goldberg/Dana Hall Trio, had just released, in September 2020, an album entitled General Semantics (Delmark DE5035 ©2020 Delmark Records LLC). The driving question of the session was of course: "Why General Semantics as a title for your album?" The following is an edited transcript of the conversation that took place on that evening.