Research on Automatic Classification Method of Ethnic Music Emotion Based on Machine Learning

With the development of the country’s economy, there is a flourishing situation in the field of culture and art. However, the diversification of artistic expressions has not brought development to folk music. On the contrary, it brought a huge impact, and some national music even fell into the dilemma of being lost. This article is mainly aimed at the recognition and classification of folk music emotions and finds the model that can make the classification accuracy rate as high as possible. The classification model used in this article is mainly after determining the use of Support Vector Machine (SVM) classification method, a variety of attempts have been made to feature extraction, and good results have been achieved. Explore the Deep Belief Network (DBN) pretraining and reverse fine-tuning process, using DBN to learn the fusion characteristics of music. According to the abstract characteristics learned by them, the recognition and classification of folk music emotions are carried out. The DBN is improved by adding “Dropout” to each Restricted Boltzmann Machine (RBM) and adjusting the increase standard of weight and bias. The improved network can avoid the overfitting problem and speed up the training of the network. Through experiments, it is found that using the fusion features proposed in this paper, through classification, the classification accuracy has been improved.

National Music Promotion and Inheritance Strategies Based on the Perspective of Intangible Cultural Heritage

Folk music is a heavy cultural carrier. Today, when culture is flourishing, it still has a unique charm and appeal. The intangible heritage of national music requires modern Chinese to continue to carry forward and inherit it, so that the spirit and characteristic culture contained in it can be smoothly transformed into the fruits of education. For this reason, it will be a feasible idea to promote and inherit national music from the perspective of intangible cultural heritage with academies education as the central medium. The article combines the understanding of intangible cultural heritage and the thinking on the promotion and inheritance of ethnic music from the perspective of intangible heritage, and further explores the significance and strategy of the promotion and inheritance of ethnic music centered on vocal music teaching in colleges and universities, hoping to provide valuable reference for relevant research.

The First Ethnomusical Publications by Volodymyr Hoshovskyi

Relevance of the study. In 2022, the world community will celebrate the 100th anniversary of the outstanding Ukrainian ethnomusicologist Volodymyr Hoshovskyi. This date inspires a research of Hoshovskyi’s scientific career and his achievements. The main purpose of the study is to focus on less known period of scientific biography of V. Hoshovskyi and discuss his first ethnomusicological publications in 1958–1961, written in Transcarpathia in the early period of his scientific career. Scientific novelty of the research. V. Hoshovskyi’s early publications are considered in a new perspective. For the first time, the links between his four first published works have been revealed. Some of the publications have not yet been deeply analyzed in Ukrainian ethnomusicology. The main results and conclusions of the study. The study proved that not only a few, as was thought previously, but all early publications of V. Hoshovskyi discuss the issues of musical dialectology. The study «On the issue of musical dialects of Transcarpathia» (1958) became the first study on this problem. Taking into account the geographical landscape and stylistic heterogeneity of the folk music of the region, the scientist sketched out the main groups of musical dialects. The article «Some peculiarities of the historical development of Ukrainian folk song in Transcarpathia» (1959) touched upon the aspects of history influencing the formation of musical dialects and revealed such aspects as 1) the East Slavic origin of Transcarpathian music; 2) the processes of assimilation during the thousand years of Hungarian expansion, 3) contacts between inhabitants of the multinational Austria and Hungary. The issue of the influence of Czech and Slovak folklore on folk songs of Transcarpathia V. Hoshovskyi considered separately in the publication «Czech and Slovak songs in Ukrainian folklore of the Transcarpathian region of the Ukrainian SSR» (Prague, 1961; 1962, in Czech), thereby completing a historical review of multinational influences on folk music of Transcarpathia. The key role for the further Hoshovskyi scientific work had the article «Musical archaisms and their dialectal features in Transcarpathia» (1960), dedicated to the development of the methodology of musical and dialectical research. The innovative approach of V. Hoshovskyi consisted in a combination of achievements in related sciences: linguo-geography and ethnomusicology and was associated with a great rise in linguodialectic research in Transcarpathia. Thus, the early publications of V. Hoshovskyi identified the object of research, the reasons for the formation of musical dialects and outlined the methodology for their study. These studies reflected the stage of the formation of V. Hoshovskyi as a scientist, and in a broader sense – the first steps of Ukrainian ethnomusicology towards the development of musical dialectology.

Ethnomusicology of Ukraine at The Turn of XX–XXI Centuries (1991–2021):Centers, Pedagogy, Documentation

The restoration of Ukraine’s independence in 1991 created favorable conditions for the powerful development of domestic ethnomusicology. Ukrainian musical folklore research has a long tradition, but for a hundred years the research has been conducted in difficult historical and political realities. This did not contribute to the proper development of folk music research, especially in the Soviet period. The period 1991–2021 is quite interesting, although difficult and ambiguous. The revival of Ukrainian ethnomusicology began in the early 1990s. Unfortunately, not all initiatives have been continued. Many initiatives had to be stopped due to financial difficulties, political circumstances, lack of sufficient specialists and so on. This article was inspired by the need to summarize everything that has been done in Ukrainian musical folklore over the past 30 years, to consider the achievements of Ukrainian ethnomusicology in 1991–2021. Previously, there was no general research on this topic, because various Ukrainian scientists have written about certain aspects of ethnomusicological work and about different time periods in the history of musical folkloristics of the period of independence. The research will be published in two parts: in this issue of the yearbook the main Ukrainian ethnomusicological centers will be presented, the state of domestic ethno-pedagogy will be discussed, documentation (field and archival) of folk music will be considered. The next issue will analyze the scientific, publishing, conference, promotional activities of Ukrainian researchers of folk music. Kyiv and Lviv have been the main Ukrainian centers for the study of folk music since the early twentieth century. The same is true today: the basic Ukrainian ethnomusical centers are the Rylsky Institute of Art Studies, Folklore and Ethnology (IAFE) of the National Academy of Sciences of Ukraine, the Tchaikovsky National Academy of Music of Ukraine and the Lysenko Lviv National Academy of Music. Research Scientific Laboratory of Music Ethnology and Departments of musical folklore were opened in both Academies in the early 1990s. Well-known scientists, doctors of science and PhD, and their junior colleagues work in these centers. Publishing activity is developing: encyclopedias, monographs, folklore collections, collections of articles, periodicals are published. Kyiv and Lviv higher music institutions publish the only in Ukraine purely ethnomusicological yearbooks of scientific articles and materials – «Problems of music ethnology» and «Ethnomusic». Regional ethnomusicological centers operate in many cities of Ukraine – Kharkiv, Odessa, Dnipro, Sumy, Rivne, Uzhgorod, etc. During the period of Independence, ethnomusicological education was actively developing. The two main areas are the education of ethnomusicologists-theorists and ethnomusicologists-practitioners, leaders of folklore ensembles. The first ones are prepared mainly by Kyiv and Lviv Music academies, where various specialized disciplines are taught. The second is taught in higher educational institutions of Kyiv, Kharkiv, Rivne, Sumy. An important area of activity of almost all Ukrainian ethnomusicological centers in the period of Independence was the documentation of folk music: the collection of musical folklore, transcription and archiving. Folk music was most actively collected in the early 1990s, but over time this work has slowed down, in part because authentic tradition is dying out and living in the passive memory of performers. Today the largest archives of folk music are in IAFE and Kyiv and Lviv Music academies. Archival collections are actively digitized, some materials can be found on the Internet – both on special sites-archives of folk music, and YouTube channels, which usually refer to the different ethnomusical centers. The main prospect of Ukrainian archivists engaged in musical folklore is the creation of the Central Electronic Archive of Ukrainian Folklore

Poetry, Rock ’n’ Roll, and Cinema in Turkey’s 1960s

Using developments in poetry, music, and cinema as case studies, this article examines the relationship between left-wing politics and cultural production during the long 1960s in Turkey. Intellectual and artistic pursuits flourished alongside trade unionism, student activism, peasant organizing, guerrilla movements. This article explores the convergences between militants and artists, arguing for the centrality of culture in the social movements of the period. It focuses on three revealing debates: between the modernist İkinci Yeni poets and young socialist poets, between left-wing protest rockers and supporters of folk music, and between proponents of radical art film and those of cinematic “social realism”.

Turkish Folk Music Lessons with Phenomenon-Based Learning: Preliminary Lessons and Results

This paper presents the results of a pre-experimental design. The study was carried out with a single-group posttest model. In this study, the Turkish Folk Music unit was chosen for investigation as part of Phenomenon Based Learning with 10th grade high school students. In order to carry out the Phenomenon Based Learning process in an effective way, the teacher is meant to be well-prepared in different aspects. Therefore, during the research, the music teacher tried different introductory and follow-up activities. Following this, the opinions of 84 high school students were considered, concerning the activities. Results revealed that the introductory activities have the utmost importance in Phenomenon Based Learning. Although this study was carried out within time constraints, it was evident that these activities had a great impact on the students and the teacher. The students’ discoveries and inferences about both Turkish Folk Music and themselves for the future emerged as promising.

THE HISTORY OF THE DEVELOPMENT OF THE MUSICAL CULTURE OF BASHKIRIA IN THE 1950S - MID-1980S

In the 1950s-1980s. the musical culture of Bashkiria was further developed, acquiring specific forms. As a result of the influence of various musical cultures, forms of professional art that were not inherent in traditional national culture were actively developing in the republic. Historically, the artistic and aesthetic experience of Bashkiria was limited to monodic forms of folk music (monophonic songs and instrumental tunes). The problem of overcoming the predominance of traditional monody in professional musical culture was urgent. Having adopted and creatively using the best traditions of classical and Soviet music, Bashkir professional music has gone an accelerated path from traditional monophonic folk music to complex genres of professional art. For several decades, such genres as opera, symphony, ballet were created in Bashkiria. Already in 1950-1970. a national style is formed on the basis of the creative implementation of folklore and the interaction of national and international in musical art. In the 1960s. against the background of the continuous interest of Bashkir composers in chamberinstrumental and chamber-vocal genres, the center of gravity is shifting to the field of musical-theatrical, symphonic music. In the musical life of the republic, great importance was attached to the popularization of musical culture. Bashkir radio paid great attention to the promotion of musical knowledge and works. Back in the early 1960s. musical and educational programs were conducted in the Bashkir and Russian languages, concerts of Bashkir, Chuvash and Russian composers were broadcast. Often, the radio played works by amateur composers with the participation of the authors themselves. At the same time, with the huge genre diversity of the musical culture of Bashkiria, significant and talented works of many authors remained outside the active cultural life, unable to popularize them and bring them to the mass audience. As a result, a serious gap was noticeable between the musical culture itself and its consumer. The low level of culture of perception of music by the population, due to the lack of professional musical education, formed preferences for pop, popular music.

Herramientas digitales aplicadas a la etnomusicología

Las “ventajas de las herramientas digitales” y las “posibilidades tecnológicas” que pueden aplicarse a la etnomusicología moderna parecen haberse quedado en clichés etéreos que en pocas ocasiones se llevan a la práctica. Pero cuando se hace, muchas veces queda en algo parcial. El hecho de digitalizar los registros sonoros y ponerlos a disposición de la comunidad científica abre boca a grandes proyectos de recuperación histórica, pero está eclipsando la capacidad crítica para cuestionar la viabilidad de estos materiales. Es amplia la bibliografía en materia de digitalización, preservación, gestión y catalogación de los registros sonoros, comenzando por el manual de recomendaciones del Centro de Documentación de Música y Danza (2017)1, pero exigua en el paso siguiente. Y es que para que estas grabaciones sirvan a la etnomusicología en sus transcripciones y elaboración de cancioneros, entre otras tareas, necesitan un proceso de reparación acústica que mejore su inteligibilidad. Solo así se logrará una verdadera transferencia de conocimiento plena. Nos referimos, en esta ocasión, a una problemática de la recuperación de registros sonoros grabados sobre soportes analógicos: el ruido. No solo dificulta la transcripción, sino que provoca fatiga auditiva en el investigador, ralentizando todo el proceso. Este artículo detalla las tipologías más comunes de este fenómeno y presenta un software profesional de reparación de audio: iZotope RX. En concreto, se aplica de forma práctica en las grabaciones de campo del musicólogo alemán Kurt Schindler en España a partir de 1920. Son referentes para los estudios de la etnomusicología española, por ser de las primeras fuentes documentales de los trabajos de campo antes de la guerra civil, como apunta Olarte (2010)2. Como prueba, se lleva el resultado al tratamiento de algunas piezas cuya transcripción se recoge en el cancionero póstumo de Schindler, Música y poesía popular de España y Portugal (1941)3, y se cuestiona su utilidad a través de una matriz DAFO. 1. Comité de expertos en digitalización de archivos sonoros (2017): Archivos sonoros. Recomendaciones para su digitalización. Madrid: Centro de Documentación de Música y Danza, INAEM. ISBN: 978-84-9041-272-5. https://www.musicadanza.es/ficheros/documentos/archivos-sonoros.pdf [01/04/2021] 2. Olarte Martínez, Matilde (2010): “Las anotaciones de campo de Kurt Schindler durante sus grabaciones en España”, Etnofolk. Revista de Etnomusicología, No. 16-17, pp. 35-74. ISSN 1698-4064. 3. Schindler, Kurt (1941): Folk music and poetry of Spain and Portugal [obra póstuma]. Nueva York: Hispanic Institute in the United States.