THE COMPARATIVE INTERPRETOLOGY AS A COGNITIVE DISCOURSE OF MODERN PIANO PRACTICE

2021 ◽  
Vol 6 (24) ◽  
pp. 510-515
Author(s):  
Kira TİMOFEEVA
Keyword(s):  
2014 ◽  
Vol 50 (2) ◽  
pp. 162-169
Author(s):  
Ayumi NAKAMURA ◽  
Tatsushi GODA ◽  
Shinichi FURUYA ◽  
Noriko NAGATA

2021 ◽  
Vol 2021 ◽  
pp. 1-11
Author(s):  
Dou Xin

Since the 1980s, with the continuous deepening of penetration of reform and liberalization, there has been scientific and technological development. In such an environment, the traditional teaching model of colleges and universities posed new challenges and put forward higher requirements for English teaching practice. To enhance the performance of English instruction, this article applies a multiple media technique to start English education practice; firstly, through the study of the current English teaching mode, it analyzes the specific needs of teachers and students and designs the functions to meet their specific needs. Secondly, combined with multimedia technology and network technology, a multimedia English practice teaching platform was designed and implemented. In this way, the overall educational efficiency has been increased by nearly 30%, and the acceptance of the model by students has been increased by 35%. Finally, this paper constructs a small multimedia piano practice teaching platform for testing and proves the practicability and usefulness of multimedia synthesis technology in English education practice through comparison with traditional English teaching effects. Experiments show that the adoption of multimedia artificial smart technology in English education has a remarkable impact on enhancing the result of English teaching, can stimulate students’ learning enthusiasm, and realize the reform of English teaching.


2016 ◽  
Vol 140 (4) ◽  
pp. 3429-3429 ◽  
Author(s):  
Shota Asahi ◽  
Satoshi Tamara ◽  
Satoru Hayamizu ◽  
Yuko Sugiyama

Entropy ◽  
2020 ◽  
Vol 22 (12) ◽  
pp. 1384
Author(s):  
Chris Rhodes ◽  
Richard Allmendinger ◽  
Ricardo Climent

Interactive music uses wearable sensors (i.e., gestural interfaces—GIs) and biometric datasets to reinvent traditional human–computer interaction and enhance music composition. In recent years, machine learning (ML) has been important for the artform. This is because ML helps process complex biometric datasets from GIs when predicting musical actions (termed performance gestures). ML allows musicians to create novel interactions with digital media. Wekinator is a popular ML software amongst artists, allowing users to train models through demonstration. It is built on the Waikato Environment for Knowledge Analysis (WEKA) framework, which is used to build supervised predictive models. Previous research has used biometric data from GIs to train specific ML models. However, previous research does not inform optimum ML model choice, within music, or compare model performance. Wekinator offers several ML models. Thus, we used Wekinator and the Myo armband GI and study three performance gestures for piano practice to solve this problem. Using these, we trained all models in Wekinator and investigated their accuracy, how gesture representation affects model accuracy and if optimisation can arise. Results show that neural networks are the strongest continuous classifiers, mapping behaviour differs amongst continuous models, optimisation can occur and gesture representation disparately affects model mapping behaviour; impacting music practice.


2012 ◽  
Vol 30 (3) ◽  
pp. 275-290 ◽  
Author(s):  
Nicolò Francesco Bernardi ◽  
Alexander Schories ◽  
Hans-Christian Jabusch ◽  
Barbara Colombo ◽  
Eckart Altenmüller

The present study aims to systematically describe mental practice (MP) in music memorization, with regard to individual differences in the use of different MP strategies and their performance outcomes. Sixteen pianists were studied while they memorized piano pieces. Each subject memorized two pieces, either via MP or physical practice (PP). In order to keep the setting as ecologically valid as possible within the experimental setup, we allowed subjects to freely apply their preferred MP strategies with the exception of physically playing a real piano. Practice and performances were video documented and expert rated; practice strategies were reported in researcher-developed questionnaires. The use of MP alone led to successful music learning. MP combined with PP produced results that were indistinguishable from those following PP alone. Pitch imagery and structural analysis were associated with better post-MP performance. Results are discussed in the frame of expert memory theory (Chase & Simon, 1973; Chaffin, Logan, & Begosh, 2009) and practical implications for musicians are provided.


Sign in / Sign up

Export Citation Format

Share Document