The article is devoted to applications installed on a smartphone designed to master musical and theoretical disciplines, the principles and prospects for the use of them as they are not covered in ...the scientific literature. The work systematizes the most common programs, describes the algorithms of the applications EarToner, Tete, InPitch, EarPower, Earope, Auralia, Complete Ear Trainer, Absolute Pitch. The author formulates the principles of using electronic resources online in classes on the theory of music and solfeggio and reveals the potential of hearing development applications used by both teachers for classes with students and students at music universities and faculties themselves. The comparative analysis reveals the advantages and disadvantages of applications, evaluates the possibilities of their use by students as an electronic educational resource for solfeggio.
Solfeggio teaching is likely to experience a major transition from tradition to modernity and from manpower to computer in the future. However, in fact, this transformation has begun at the moment, ...and one of the most prominent manifestations is the emergence of various solfeggio teaching software. The purpose of this paper is to study the solfeggio training system based on CAT technology. This paper analyzes the current situation of traditional solfeggio teaching and the current research and development of digital solfeggio teaching software at home and abroad, introduces related concepts of solfeggio music theory, and deeply analyzes the digital audio related to the solfeggio system based on CAT technology. technology, MIDI technology, pitch detection technology. On this basis, the overall frame design and core module implementation of the solfeggio training aid system are completed. At the same time, the prototype system and the system operation effect are investigated. Practice has proved that the use of CAT technology in the teaching of solfeggio enriches the teaching content.
Solfege and Sonority is a guide for teaching music literacy in a choral rehearsal, with a focus on the needs of teachers who work with young singers. The book lays out teaching sequences for melodic ...and rhythmic concepts, lesson plans, and concise strategies for introducing key techniques. The individual lessons themselves are short (no more than 4-6 minutes each) and comprehensive, encouraging singers to develop a literacy of rhythm and melody together. In 18 easy-to-use lessons for teachers and conductors and tying the lessons to the teacher's current repertoire, longtime choral director and teacher David J. Xiques has created a practical and viable solution to the challenges of many conductors, as well as providing a much-needed manual for upper-level choral pedagogy courses. The comprehensive companion website provides access to videos of exercises, worksheets, and teaching materials.
Android Software for Testing in Audio and 2D User Interaction Environment Starodubtsev, Igor Yu; Desyatirikov, Felix A.; Nuzhnykh, Alexey V.
2020 International Conference Quality Management, Transport and Information Security, Information Technologies (IT&QM&IS),
2020-Sept.-7
Conference Proceeding
Software has been developed that implements a digital form of remote knowledge control in Java for the Android platform. The testing system uses visual, audio and graphic generation of questions and ...answers, which ensures the use of traditional forms of training in remote mode. In addition to the offline mode, an automatic testing system suggests the possibility of a network interaction between a teacher and a group of students. An example of an automatic system for remote assessment of musical literacy of students of music colleges is given.
В работе сделан социально-психологический анализ первого этапа перехода на онлайн-обучение в период пандемии COVID-19 весной 2020 года, дается оценка перспектив развития музыкального ...онлайн-образования с разных позиций. На основе изучения, отбора и апробации автором оптимальных для проведения онлайн-занятий устройств записи и передачи звука и видео сделан обзор основного оборудования и приемов работы с ним как для педагога, так и для ученика— с позиции нужд музыкального обучения и в пределах бюджетного ценового сегмента. Даны практические рекомендации, как организовать занятия в режиме онлайн по сольфеджио и другим предметам музыкально-теоретического цикла, а также некоторые общие советы относительно проведения занятий по музыкально-исполнительским дисциплинам.
This paper contains a socio-psychological analysis of the first steps in e-learning during the COVID-19 virus pandemic in spring of 2020. An assessment of the prospects for the development of on-line music education from different perspectives is presented. Based on the author’s study and testing the recording and transmission devices the most convenient devices and software for musical e-classes have been chosen by the author. An overview of the basis equipment and methodology for working with them is made for the teacher as well as for the student from the standpoint of the music education needs and within the budget price segment. Recommendations on organizing solfeggio classes and other subjects of the musical-theoretical cycle are given, as well as some general tips on conducting classes in music performing disciplines.
The automatic scoring of singing evaluation is a hot topic in recent years. Improving the score following effect is the first step to improve the accuracy of evaluation. Most of the commonly used ...methods are based on DTW, but for audios with low singing quality and inaccurate pitch, DTW often predicts the onset incorrectly. In order to solve the above problems, this paper focus on the offline following, mainly improves from two aspects: 1. Sol-fa name recognition is done before pitch tracking as preprocess. We cannot guarantee that the pitch of the singer is correct, but we can assume that the singer pronounces the sol-fa name correctly, so we use sol-fa name recognition as preprocessing; 2. Regularized DTW is proposed based on the basis of sol-fa name recognition. The results show that for general audio, under the condition of a tolerance of 20ms, compared with about 86% accuracy of ordinary DTW algorithm, our algorithm has improved to about 92%, while the average error of predicted notes is reduced by about 23ms. For audio with low signal-to-noise ratio and unstable voice frequency, the alignment effect is improved by about 20% compared with ordinary DTW.
This paper presents an approach of solfeggio audio machine assessment based on multiple audio spectrum features. In this machine assessment system, we analyze 13 spectrum audio features of solfeggio ...audios, and build a machine assessment model based on the scoring results of music experts, aiming to score the solfeggio audio system at the professional level based on machine learning techniques. An effective way is designed to implement the system with high generalization ability in this paper, with deploying 150 practice audio files marked with expert scores for training and testing the model. Various features are extracted to train predictors, which access the distances between practice audio files and their target audio files. In this way, these predictors can mark unknown audio files reliably. The training and testing process are described in detail, and the test results testify that our system can provide expert level scoring.
Jean-Philippe Rameau affirme que l'harmonie a pour principe la basse fondamentale. Il soutient également que cette basse fondamentale est quelque chose qui peut se sentir dans la pratique musicale. ...Néanmoins, il ne considère pas ce sentiment comme une justification suffisante pour son principe. En conséquence, il n'explique pas précisément en quoi ce sentiment peut consister, et préfère donner des arguments physico-mathématiques.La présente thèse traite du problème suivant: qu'est-ce donc que sentir la basse fondamentale, et ce sentiment est-il réellement inapte à justifier ce concept? Pour y répondre, il faut prêter attention aux opérations par lesquelles le lecteur de Rameau est invité à cultiver sa sensibilité à l'harmonie. Il s'agit de commenter ces opérations à l'aide de la phénoménologie de Husserl. Pour produire une phénoménologie de la basse fondamentale, il importe de décrire les sons avec plus de précision que Rameau ne le fait dans ses traités. Cela peut être réalisé grâce au solfège généralisé de Pierre Schaeffer.Mais pour cela, un travail préparatoire est nécessaire. L'introduction vise à montrer qu'il n'y a rien d'étrange, pour traiter de l'harmonie du dix-huitième siècle, à se servir des travaux de Schaeffer. Les quatre premiers chapitres ont pour but de clarifier le concept de basse fondamentale. Les quatre derniers visent à produire une phénoménologie de certains aspects du son, de l'harmonie et de la basse fondamentale. Il apparaît alors que le sentiment peut effectivement justifier la décision de considérer la nasse fondamentale comme le principe de l'harmonie; mais une telle justification n'a pas toute la force que recherchait Rameau.
Jean-Philippe Rameau has claimed that the fundamental bass is the principle of harmony. He also presents this fundamental bass as something which can be felt in musical practice. Nevertheless, he doesn't consider that feeling as a sufficient justification for his principle. As a consequence, he doesn't explain precisely what that feeling consists in, and he prefers to develop some physical and mathematical arguments to prove his theory.This thesis deals with the following issue: what is it like to feel the fundamental bass, and does this feeling really offer no sufficient justification for that concept? To answer those questions, attention has to be paid to the operations by which Rameau's reader is supposed to cultivate his own sensibility to harmony; and they shall be commented with the help of husserl's phenomenology. To provide a phenomenology of the fundamental bass, it is necessary to describe sounds more precisely than Rameau does in his treatises. Such a description shall be achieved thanks to Pierre Schaeffer's generalized solfeggio.But to make it possible, some preliminary work is required. An introduction shall argue that there is nothing strange in using Schaeffer's work to deal with harmony of the eighteenth century. The first four chapters are intended to clarify the concept of fundamental bass. The last four chapters are intended to produce a phenomenology of some aspects of sound, harmony and fundamental bass. At the end of this thesis, it appears that feeling can justify the fundamental bass to be considered as the principle of rules; but this justification does not have the strength Rameau was looking for.
Opće i glazbeno obrazovanje u situaciji pandemije u potpunosti je prešlo na model učenja na daljinu. Istraživanjem se željelo ustanoviti koje su didaktičke pristupe primjenjivali učitelji i učenici u ...slovenskim glazbenim školama tijekom asinkronog učenja na daljinu. Na uzorku od 9 aktivnih učitelja i 16 učenika analiziran je 31 interaktivni nastavni materijal kako bi se odredili inovativni didaktički pristupi u korištenju digitalne tehnologije s ciljem ostvarenja ishoda učenja na nastavi Glazbene teorije i Solfeggia. Primjenom kvalitativnih i kvantitativnih metoda došlo se do rezultata koji ukazuju na nisku zastupljenost didaktičkih pristupa koji koriste digitalne tehnologije. Iako su rezultati pokazali visoku učestalost korištenja digitalne tehnologije među učenicima, istaknuta je i prisutnost materijala za e-učenje te tradicionalnih nastavnih pristupa, poput onih korištenih u klasičnom tipu učioničke nastave.
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