Self-Perceived Influence of Music Genres in Incarcerated and NonIncarcerated Adolescents

Are higher status cultural tastes in the modern United States better described as being inclusive and broad or exclusive and narrow? We construct an original dataset in response to conflicting answers to this question. We fill a major gap in the literature on cultural tastes by simultaneously considering taste for both musical genres and artists within genres. By examining the compositional balance of respondents’ taste portfolios, we reconcile seemingly incommensurate theoretical frameworks of class homology and omnivorousness. The results indicate that an omnivorous disposition to music is a relatively middle-status position in the social structure. In contrast, positions characterized by higher levels of cultural capital map onto exclusive and narrower tastes for consecrated culture.

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Automatic Music Genre Classification and Its Relation with Music Education

World Journal of Education ◽

10.5430/wje.v11n2p36 ◽

2021 ◽

Vol 11 (2) ◽

pp. 36

Author(s):

Hasan Can Ceylan ◽

Naciye Hardalaç ◽

Ali Can Kara ◽

Fırat Hardalaç

Keyword(s):

Music Education ◽

Learning Algorithm ◽

Mel Frequency Cepstral Coefficients ◽

Music Production ◽

Music Classification ◽

Music Genres ◽

Deep Learning Algorithm ◽

Genre Classification ◽

Music Genre ◽

Music Genre Classification

Because the classification saves time in the learning process and enables this process to take place more easily, its contribution to music learning cannot be denied. One of the most valid and effective methods in music classification is music genre classification. Given the rapid progress of music production in the world and the significant increase in the number of data, the process of classifying music genres has now become too complex to be done by humans. Considering the successful results of deep neural networks in this field, the aim is to develop a deep learning algorithm that can classify 10 different music genres. To reveal the efficiency of the model by comparing it with others, we make the classification using the GTZAN dataset, which was previously used in many studies and retains its validity. In this article, we use a convolutional neural network (CNN) to classify music genres, taking into account the previous successful results. Unlike previous studies in which CNN was used as a classifier, we represent music segments in the dataset by mel frequency cepstral coefficients (MFCC) instead of using visual features or representations. We obtain MFCCs by preprocessing the music pieces in the dataset, then train a CNN model with the acquired MFCCs and determine the success of the model with the testing data. As a result of this study, we develop a model that is successful in classifying music genres by using smaller data than previous studies.

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Bird species identification via transfer learning from music genres

Ecological Informatics ◽

10.1016/j.ecoinf.2018.01.006 ◽

2018 ◽

Vol 44 ◽

pp. 76-81 ◽

Cited By ~ 13

Author(s):

Stavros Ntalampiras

Keyword(s):

Species Identification ◽

Transfer Learning ◽

Bird Species ◽

Music Genres

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Hybrid in Form, Socialist in Content: The Formal Politics of Chŏlga in the North Korean Revolutionary Opera Sea of Blood

twentieth century music ◽

10.1017/s1478572221000190 ◽

2021 ◽

Vol 18 (3) ◽

pp. 419-445

Author(s):

STEPHEN JOHNSON

Keyword(s):

Popular Music ◽

North Korea ◽

Cultural Hybridity ◽

Colonial Era ◽

Music Genres ◽

The North ◽

Kim Jong Il ◽

Analytical Standards ◽

Korean Nation

AbstractKim Jong Il considered the 1971 premiere of the opera Sea of Blood a watershed moment in opera history. He lauded its innovative use of chŏlga (‘stanzaic song’) rather than aria and recitative. By Western analytical standards, however, chŏlga is simple and predictable, so scholars have thus far glossed over its conventions and their signification. This article instead argues that chŏlga conventions exhibit cultural hybridity and that Kim leveraged such hybridity to advocate a modern, popular, and national sound for North Korea. I begin by outlining hybrid characteristics of colonial-era popular music that chŏlga inherited. I then explore Kim's engagement with such trends in his speeches on chŏlga and demonstrate that cultural hybridity was central to his understanding of sonic modernity. Finally, I analyse a scene from Sea of Blood that pits chŏlga against other music genres, leading to a symbolic victory for the form and for the Korean nation.

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Introduction

Categorizing Sound ◽

10.1525/california/9780520248717.003.0001 ◽

2016 ◽

Author(s):

David Brackett

Keyword(s):

Music Industry ◽

Music Genres ◽

Group Identities

This chapter examines the concept of genre through an array of theoretical lenses. The first point is that music genres are relational: they are defined by their similarity to and difference from other genres. The chapter then advocates for a genealogical approach to history, with an emphasis on the conditions of a genre’s emergence. Other concepts explored are the importance of scale or level in understanding how genres function as assemblages; that authorship in genres arises from collective dialogue among participants in a “genre world”; and that genre functions through repetition and difference in a process of iteration or citation. The latter half of the chapter proposes a model for a range of possible relationships between musical categories and group identities. The chapter closes with a discussion of the importance of “crossover” for understanding music-identity relations, and of the role that music industry popularity charts will play in the book.

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Music in Central America

10.1093/oso/9780197624913.003.0010 ◽

2021 ◽

pp. 163-172

Author(s):

Rachel Gibson

Keyword(s):

Central America ◽

Cultural Context ◽

Music History ◽

West African ◽

Music Genres ◽

Indigenous Music ◽

History Of

This chapter presents a history of music genres in Central America and chronicles Indigenous music and dance, the arrival of European music, and West African influence. An awareness of music history of the region frames the repertoire within a larger cultural context and can inform how this repertoire is presented to students....

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Church and Sacred Music Genres

Church and Worship Music in the United States ◽

10.4324/9781315638218-7 ◽

2016 ◽

pp. 119-159

Keyword(s):

Sacred Music ◽

Music Genres

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Allow Peace to Reign: Musical Genres of Fújì and Islamic Allegorise Nigerian Unity in the Era of Boko Haram

Yearbook for Traditional Music ◽

10.1017/ytm.2020.5 ◽

2020 ◽

Vol 52 ◽

pp. 1-22

Author(s):

DEBRA L. KLEIN

Keyword(s):

Popular Music ◽

Dance Music ◽

Peaceful Coexistence ◽

Boko Haram ◽

Music Genres ◽

Muslim Communities ◽

Musical Genres ◽

Praise Poetry ◽

Cultural Fusion

AbstractA proliferation of popular music genres flourished in post-independence Nigeria: highlife, jùjú, Afrobeat, and fújì. Originating within Yorùbá Muslim communities, the genres of fújì and Islamic are Islamised dance music genres characterised by their Arabic-influenced vocal style, Yorùbá praise poetry, driving percussion, and aesthetics of incorporation, flexibility, and cultural fusion. Based on analysis of interviews and performances in Ìlọrin in the 2010s, this article argues that the genres of fújì and Islamic allegorise Nigerian unity—an ideology of tolerance, peaceful coexistence, and equity—while exposing the gap between the aspiration for unity and everyday inequities shaped by gender and morality.

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