Opportunities for a cultural specific approach in the computational description of music

The current research in Music Information Retrieval (MIR) is showing the potential that the Information Technologies can have in music related applications. Amajor research challenge in that direction is how to automaticallydescribe/annotate audio recordings and how to use the resulting descriptions to discover and appreciate music in new ways. But music is a complex phenomenonand the description of an audio recording has to deal with this complexity. For example, each musicculture has specificities and emphasizes different musicaland communication aspects, thus the musical recordings of each culture should be described differently. At the same time these cultural specificities give us the opportunity to pay attention to musical concepts andfacets that, despite being present in most world musics, are not easily noticed by listeners. In this paper we present some of the work done in the CompMusic project, including ideas and specific examples on how to take advantage of the cultural specificities of differentmusical repertoires. We will use examples from the art music traditions of India, Turkey and China.

An approach for linking score and audio recordings in Makam music of Turkey

The main information sources to study a particular piece of music are symbolic scores and audio recordings. These are complementary representations of the piece and it isvery useful to have a proper linking between the two of the musically meaningful events. For the case of makam music of Turkey, linking the available scores with the correspondingaudio recordings requires taking the specificities of this music into account, such as the particular tunings, the extensive usage of non-notated expressive elements, and the way in which the performer repeats fragmentsof the score. Moreover, for most of the pieces of the classical repertoire, there is no score written by the original composer. In this paper, we propose a methodology to pair sections of a score to the corresponding fragments of audio recording performances. The pitch information obtained from both sources is used as the common representationto be paired. From an audio recording, fundamental frequency estimation and tuning analysis is done to compute a pitch contour. From the corresponding score, symbolic note names and durations are converted to a syntheticpitch contour. Then, a linking operation is performed between these pitch contours in order to find the best correspondences.The method is tested on a dataset of 11 compositions spanning 44 audio recordings, which are mostly monophonic. An F3-score of 82% and 89% are obtained with automatic and semi-automatic karar detection respectively,showing that the methodology may give us a needed tool for further computational tasks such as form analysis, audio-score alignment and makam recognition.

Features for analysis of Makam music

For computational studies of makam music, it is essential to gather a list of characteristics that constitute a makam and explore corresponding quantitative features for automaticanalysis. This study is such an attempt where we address the characteristics for makams as defined in theory books and deduce a list of quantitative features. The target here is to evoke discussions on some measurable features other than providing complete analysis on thediscriminative potentials of each proposed feature which could be the subject of a few larger studies.

Redefining dropping out in online higher education: a case study from the UOC

In recent years, studies into the reasons for dropping out of higher education (including online education) have been undertaken with greater regularity, parallel to the rise in the relative weight of this type of education, compared with brick-and-mortar education. However, the work invested in characterising the students who drop out of education, compared with those who do not, appears not to have had the same relevance as that invested in the analysis of the causes. The definition of dropping out is very sensitive to the context. In this article, we reach a purely empirical definition of student dropping out, based on the probability of not continuing a specific academic programme following several consecutive semesters of "theoretical break". Dropping out should be properly defined before analysing its causes, as well as comparing the drop-out rates between the different online programmes, or between online and on-campus ones. Our results show that there are significant differences among programmes, depending on their theoretical extension, but not their domain of knowledge.

An induction programme for Bologna first-year bachelor’s degree students in Spain

Introduction. The current study describes the planning process and aims of the university reforms in Spain and suggests an innovative proposal, namely the design and evaluation of a week-long induction programme for first-year bachelor‟s degree students at the University of Lleida (Spain), organised within the European higher education framework. The purpose of this induction programme is to help new students adapt to university life. Method. A total of 102 students and ten lecturers were involved in the study. These participants responded questionnaires and interviews. We contrasted all the results in order to obtain some results that were useful to evaluate the induction programmee which the University introduced in the first four degrees. Results. Findings of the study revealed that participants gave very positive feedback regarding the programme, and the results also highlighted areas which could be improved. Conclusion. The new proposals clearly require a higher level of staff participation to make them work, highlighting the need for appropriate training of university staff and improving coordination with appropriate systems.

El canto coral y las orquestas infantiles, una educación en valores = Choir singing and children’s orchestras, an education in values

This article looks at the musical activity carried out at Palafrugell Music School as a musical education centre over the past forty years. After giving a brief description of the work carried out there by vocal and instrumental groups, the article analyses and offers examples and tangible motives that use activities to show that forming part of a coral or instrumental group helps personal development and promotes the acquisition of habits, alongside musical training and learning. In short, an education in values

Competencias creativas en el aula de música = Creative competences in music classes

En el marco de las competencias profesionales del educador musical, la creatividad ocupa una posición que a menudo ha sido definida como sistémica. La labor del educador y/o formador en el aula de música requiere, de forma genérica, el despliegue de competencias que incorporen la creatividad. En este artículo se presentan los resultados de un trabajo realizado con dos muestras de alumnos, de tercer curso de magisterio y de un curso postgrado. Se ofrecen y se analizan los datos recogidos con la finalidad de desplegar un mapa que integre competencias creativas genéricas, específicas y disciplinares