The Experts below are selected from a list of 36483 Experts worldwide ranked by ideXlab platform
Philippe Pasquier - One of the best experts on this subject based on the ideXlab platform.
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A Comparative Study of Western and Chinese Classical Music based on Soundscape Models.
arXiv: Sound, 2020Co-Authors: Jianyu Fan, Yi-hsuan Yang, Kui Dong, Philippe PasquierAbstract:Whether literally or suggestively, the concept of soundscape is alluded in both modern and ancient Music. In this study, we examine whether we can analyze and compare Western and Chinese Classical Music based on soundscape models. We addressed this question through a comparative study. Specifically, corpora of Western Classical Music excerpts (WCMED) and Chinese Classical Music excerpts (CCMED) were curated and annotated with emotional valence and arousal through a crowdsourcing experiment. We used a sound event detection (SED) and soundscape emotion recognition (SER) models with transfer learning to predict the perceived emotion of WCMED and CCMED. The results show that both SER and SED models could be used to analyze Chinese and Western Classical Music. The fact that SER and SED work better on Chinese Classical Music emotion recognition provides evidence that certain similarities exist between Chinese Classical Music and soundscape recordings, which permits transferability between machine learning models.
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ICASSP - A Comparative Study of Western and Chinese Classical Music Based on Soundscape Models
ICASSP 2020 - 2020 IEEE International Conference on Acoustics Speech and Signal Processing (ICASSP), 2020Co-Authors: Jianyu Fan, Yi-hsuan Yang, Kui Dong, Philippe PasquierAbstract:Whether literally or suggestively, the concept of soundscape is alluded in both modern and ancient Music. In this study, we examine whether we can analyze and compare Western and Chinese Classical Music based on soundscape models. We addressed this question through a comparative study. Specifically, corpora of Western Classical Music excerpts (WCMED) and Chinese Classical Music excerpts (CCMED) were curated and annotated with emotional valence and arousal through a crowdsourcing experiment. We used a sound event detection (SED) and soundscape emotion recognition (SER) models with transfer learning to predict the perceived emotion of WCMED and CCMED. The results show that both SER and SED models could be used to analyze Chinese and Western Classical Music. The fact that SER and SED work better on Chinese Classical Music emotion recognition provides evidence that certain similarities exist between Chinese Classical Music and soundscape recordings, which permits transferability between machine learning models.
Jianyu Fan - One of the best experts on this subject based on the ideXlab platform.
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A Comparative Study of Western and Chinese Classical Music based on Soundscape Models.
arXiv: Sound, 2020Co-Authors: Jianyu Fan, Yi-hsuan Yang, Kui Dong, Philippe PasquierAbstract:Whether literally or suggestively, the concept of soundscape is alluded in both modern and ancient Music. In this study, we examine whether we can analyze and compare Western and Chinese Classical Music based on soundscape models. We addressed this question through a comparative study. Specifically, corpora of Western Classical Music excerpts (WCMED) and Chinese Classical Music excerpts (CCMED) were curated and annotated with emotional valence and arousal through a crowdsourcing experiment. We used a sound event detection (SED) and soundscape emotion recognition (SER) models with transfer learning to predict the perceived emotion of WCMED and CCMED. The results show that both SER and SED models could be used to analyze Chinese and Western Classical Music. The fact that SER and SED work better on Chinese Classical Music emotion recognition provides evidence that certain similarities exist between Chinese Classical Music and soundscape recordings, which permits transferability between machine learning models.
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ICASSP - A Comparative Study of Western and Chinese Classical Music Based on Soundscape Models
ICASSP 2020 - 2020 IEEE International Conference on Acoustics Speech and Signal Processing (ICASSP), 2020Co-Authors: Jianyu Fan, Yi-hsuan Yang, Kui Dong, Philippe PasquierAbstract:Whether literally or suggestively, the concept of soundscape is alluded in both modern and ancient Music. In this study, we examine whether we can analyze and compare Western and Chinese Classical Music based on soundscape models. We addressed this question through a comparative study. Specifically, corpora of Western Classical Music excerpts (WCMED) and Chinese Classical Music excerpts (CCMED) were curated and annotated with emotional valence and arousal through a crowdsourcing experiment. We used a sound event detection (SED) and soundscape emotion recognition (SER) models with transfer learning to predict the perceived emotion of WCMED and CCMED. The results show that both SER and SED models could be used to analyze Chinese and Western Classical Music. The fact that SER and SED work better on Chinese Classical Music emotion recognition provides evidence that certain similarities exist between Chinese Classical Music and soundscape recordings, which permits transferability between machine learning models.
Christopher Dromey - One of the best experts on this subject based on the ideXlab platform.
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Talking about Classical Music: radio as public Musicology
The Classical Music Industry, 2018Co-Authors: Christopher DromeyAbstract:In the spacious, public foyer of London’s Southbank Centre, Europe’s largest arts centre, a wall-sized advert trails the concerts of the venue’s four resident orchestras with the slogan ‘a Classical Music season exclusively for pretty much everyone.’ Orthodox marketing practice might well blanche at the use of ‘exclusively’ to describe Classical Music. Inclusivity and accessibility are the contemporary watchwords of a Musical genre long dogged by cultural stereotypes, particularly surrounding (middle) class and (old) age. But the slogan’s deliberate oxymoron is surely self-aware and provocative, aiming to stop readers in their tracks, to play on Classical Music’s image problem, and ultimately, of course, to attract concertgoers. More broadly, then, the slogan underlines the importance of language to how Classical Music is perceived today, and the sensitivities that influence and regulate that association. As a marketing ploy, ‘exclusively’ here is both an invitation—the Music these orchestras produce is for you, dear reader—and a qualified reminder of Classical Music’s elite credentials. Potential concertgoers are invited to imagine a special or premier event, not one that is cliquish or exclusory. How such language frames Classical Music is the central theme of this chapter. Language is used in myriad ways to contextualise and set expectations about Classical Music, but many such forms currently slip under Musicology’s radar, despite being essential to how the genre is perceived: from programme notes, liner notes, and reviews that steer audiences’ experiences, to “bluffer’s” guides and the efforts of marketers to promote and demystify Classical Music. Consider also the rise of social media, society’s keen appropriation of Classical Music, and oral media such as podcasts and radio, and the work required to understand how perceptions of Classical Music are shaped in the broadest sense becomes clear. To appreciate this argument is also to begin to make the case for public Musicology, a bidirectional process that recognises and attaches greater significance to public-Musicological artefacts (such as liner notes and radio) and considers how Musicology can make Music relevant and useful in the public sphere. This nascent field is particularly pertinent to Classical Music, with its grand history and exclusive image. This chapter focusses on one of the most public forms of Musicology to classify and critique how BBC Radio 3 and Classic FM speak about the Music they broadcast. To survey the types and range of language they use is to reveal not only how the genre is portrayed on the radio today, but also the assumptions about what Classical Music is, and what it is supposed or presumed to do. In turn, the chapter will offer an account of how Radio 3 and Classic FM fulfil different but overlapping roles in today’s Classical Music industry. Figures show that these stations reach 1.89 and 5.36 million listeners per quarter respectively, making radio by far the most popular way in which people access Classical Music. Radio is therefore a meaningful way to critique the dilemmas—crises, as some commentators would have it—Classical Music faces. Indeed, radio itself, and particularly Classic FM, has been criticised heavily over the years, as we shall see. Such views are historically engrained, but how credible or true are they today? Might radio, in fact, be less a symptom of certain parts of Classical Music’s supposed malaise, and more a cure? Admittedly, examining radio as a conduit for Musical understanding and enjoyment is challenging: the complete task would be as much philosophical and linguistic as cultural and Musicological. This chapter is intended to be a midpoint that builds on recent Musicology and sociology on both radio and the state of Classical Music, and which looks ahead to consider how public Musicology might respond to the modern realities of Classical Music. A study of the vocabulary Radio 3 and Classic FM use to characterise Classical Music is therefore framed by two field-scoping sections: on public Musicology itself and, first, on the intense debates that encircle the genre today.
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The Classical Music Industry
2018Co-Authors: Christopher Dromey, Julia HaferkornAbstract:This volume brings together academics, executives and practitioners to provide readers with an extensive and authoritative overview of the Classical Music industry. The central practices, theories and debates that empower and regulate the industry are explored through the lens of Classical Music-making, business, and associated spheres such as politics, education, media and copyright. Part I maps the industry’s key networks, principles and practices across such sectors as recording, live, management and marketing: essentially, how the cultural and economic practice of Classical Music is kept mobile and alive. The focus of Part II is accessibility and diversity in Classical Music-making, examining pathways to professionalism, traditional and new forms of engagement, and the consequences of related issues—ethics, prestige, gender and class—for anyone aspiring to ‘make it’ in the industry today. Part III takes up these challenges in a broader series of chapters dedicated to debates that have long encircled the sector but today have a fresh face, as the industry adjusts to the new economics of funding, policy-making and retail. Profound changes in society and politics at large prompt authors to rethink how the industry navigates its way through an unforgiving yet exciting digital era, past the so-called crisis of Classical Music itself, and on to attracting audiences new and old. The Classical Music industry is a diverse and fast-changing sector that animates deep feelings. The volume is written by experts who do not shy away from the subject’s challenges and controversies but offer a balanced and rigorous account of the manifold ways in which the industry operates. The first of its kind, The Classical Music Industry is a significant point of reference and piece of critical scholarship, written for the benefit of practitioners, Music-lovers, students and scholars alike.
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Questions of Language in the Perception of Classical Music
2017Co-Authors: Christopher DromeyAbstract:It remains fashionable to describe Classical Music as being either in crisis, or, at the very least, in need of robust defence. Bloggers and critics, e.g. Lebrecht (2008), have long lamented its alleged social or economic decline, and the less polemical Johnson (2002), Koehne (2004), Fineberg (2006) and Kramer (2009) have also scrutinised the place, purpose and definition of Classical Music in the twenty-first century. At the same time, many still see Classical Music as stuffy, elitist and out of touch with societies that are increasingly pluralist. Efforts to make Classical Music more accessible by embracing digital technology or informality in presentation often serve only to add further stereotypes: witness a ‘popular’ Classical radio station said to “remove the guts of Classical Music, transforming it into a kind of fragrant security blanket” (Morley, 2013). This chapter seeks to cut through the hyperbole to examine how the use of language in the sector creates and drives such polarised impressions. Language is used in various ways to contextualise and set expectations about Classical Music. Many forms of communication currently slip under the radar, academically speaking, but are central to how Classical Music is perceived: from programme notes, liner notes and reviews that steer audiences’ experiences, to ‘bluffers’ guides and the work of marketers and Musicologists to promote, demystify and reinterpret Classical Music. Add to the mix verbal commentaries such as radio ‘sells’, the rise of social media, and popular culture’s keen appropriation of Classical Music, and it is clear that much work remains to be done to understand how perceptions of Classical Music are shaped in the broadest sense. Pitts (2005) and Hellmuth Margulis (2010) have begun to highlight how diversely audiences feel about, and interact with, Classical Music. Drawing on their research, I take as my starting point the idea that “those who speak of a crisis in Classical Music are really describing the irrevocable demise of old, familiar attitudes, expectations and ways of working.” (Levitt and Rennie, 1999). The chapter, then, assumes a causal link exists between the stereotypes and vocabularies that frame Classical Music. It probes that link by exploring how the use of language varies across and within Classical genres, for example mainstream vs. experimental opera, a metropolitan chamber Music society, and the popular Classical canon. In doing so, the chapter assesses the prescriptive, emotive and ‘intellectualised’ ways in which Classical Music is discussed and received.
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Mapping the Classical Music Industry
2017Co-Authors: Christopher Dromey, Julia Haferkorn, Marius CarboniAbstract:This chapter sets the scene for the rest of the volume by mapping the manifold sectors that comprise today’s Classical Music industry, with particular focus on live, retail, publishing, copyright and engagement, including marketing and education. The chapter will examine how these sectors co-exist and relate, record their intrinsic and economic value, and consider how their historic boundaries are being remoulded in the early twenty-first century. As valuable as this survey will be, the chapter will go further, scrutinising how the industry is facing up to unprecedented challenges: a post-‘crunch’ economic climate, a networked society that stimulates playlist and sharing cultures, and a digital era at once unforgiving and full of promise. How does the Classical sector approach such modern habits while continuing to heed the significance of physical products, live Music-making and its primary consumer base? How might the Classical sector’s below-average growth in online activity, especially in the spheres of downloading and streaming (Intellectual Property Office, 2014; Official Charts Company, 2014), be explained and resolved? The chapter will chart how Classical Music education and industry interact through outreach schemes, the nascent STEAM agenda and a more business-led approach to peripatetic teaching. Often politically driven, such undertakings will lead our data and discussion back towards more perennial concerns, for example tracing the industry’s broader income streams, assessing its sustainability, and analysing it further through the lens of several key ‘oppositions’: public/private activities, amateur/professional enterprise and mainstream/fringe Music-making. To map the Classical Music industry, then, is to understand how its responses to prevailing trends will shape its future.
Yi-hsuan Yang - One of the best experts on this subject based on the ideXlab platform.
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A Comparative Study of Western and Chinese Classical Music based on Soundscape Models.
arXiv: Sound, 2020Co-Authors: Jianyu Fan, Yi-hsuan Yang, Kui Dong, Philippe PasquierAbstract:Whether literally or suggestively, the concept of soundscape is alluded in both modern and ancient Music. In this study, we examine whether we can analyze and compare Western and Chinese Classical Music based on soundscape models. We addressed this question through a comparative study. Specifically, corpora of Western Classical Music excerpts (WCMED) and Chinese Classical Music excerpts (CCMED) were curated and annotated with emotional valence and arousal through a crowdsourcing experiment. We used a sound event detection (SED) and soundscape emotion recognition (SER) models with transfer learning to predict the perceived emotion of WCMED and CCMED. The results show that both SER and SED models could be used to analyze Chinese and Western Classical Music. The fact that SER and SED work better on Chinese Classical Music emotion recognition provides evidence that certain similarities exist between Chinese Classical Music and soundscape recordings, which permits transferability between machine learning models.
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ICASSP - A Comparative Study of Western and Chinese Classical Music Based on Soundscape Models
ICASSP 2020 - 2020 IEEE International Conference on Acoustics Speech and Signal Processing (ICASSP), 2020Co-Authors: Jianyu Fan, Yi-hsuan Yang, Kui Dong, Philippe PasquierAbstract:Whether literally or suggestively, the concept of soundscape is alluded in both modern and ancient Music. In this study, we examine whether we can analyze and compare Western and Chinese Classical Music based on soundscape models. We addressed this question through a comparative study. Specifically, corpora of Western Classical Music excerpts (WCMED) and Chinese Classical Music excerpts (CCMED) were curated and annotated with emotional valence and arousal through a crowdsourcing experiment. We used a sound event detection (SED) and soundscape emotion recognition (SER) models with transfer learning to predict the perceived emotion of WCMED and CCMED. The results show that both SER and SED models could be used to analyze Chinese and Western Classical Music. The fact that SER and SED work better on Chinese Classical Music emotion recognition provides evidence that certain similarities exist between Chinese Classical Music and soundscape recordings, which permits transferability between machine learning models.
Kui Dong - One of the best experts on this subject based on the ideXlab platform.
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A Comparative Study of Western and Chinese Classical Music based on Soundscape Models.
arXiv: Sound, 2020Co-Authors: Jianyu Fan, Yi-hsuan Yang, Kui Dong, Philippe PasquierAbstract:Whether literally or suggestively, the concept of soundscape is alluded in both modern and ancient Music. In this study, we examine whether we can analyze and compare Western and Chinese Classical Music based on soundscape models. We addressed this question through a comparative study. Specifically, corpora of Western Classical Music excerpts (WCMED) and Chinese Classical Music excerpts (CCMED) were curated and annotated with emotional valence and arousal through a crowdsourcing experiment. We used a sound event detection (SED) and soundscape emotion recognition (SER) models with transfer learning to predict the perceived emotion of WCMED and CCMED. The results show that both SER and SED models could be used to analyze Chinese and Western Classical Music. The fact that SER and SED work better on Chinese Classical Music emotion recognition provides evidence that certain similarities exist between Chinese Classical Music and soundscape recordings, which permits transferability between machine learning models.
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ICASSP - A Comparative Study of Western and Chinese Classical Music Based on Soundscape Models
ICASSP 2020 - 2020 IEEE International Conference on Acoustics Speech and Signal Processing (ICASSP), 2020Co-Authors: Jianyu Fan, Yi-hsuan Yang, Kui Dong, Philippe PasquierAbstract:Whether literally or suggestively, the concept of soundscape is alluded in both modern and ancient Music. In this study, we examine whether we can analyze and compare Western and Chinese Classical Music based on soundscape models. We addressed this question through a comparative study. Specifically, corpora of Western Classical Music excerpts (WCMED) and Chinese Classical Music excerpts (CCMED) were curated and annotated with emotional valence and arousal through a crowdsourcing experiment. We used a sound event detection (SED) and soundscape emotion recognition (SER) models with transfer learning to predict the perceived emotion of WCMED and CCMED. The results show that both SER and SED models could be used to analyze Chinese and Western Classical Music. The fact that SER and SED work better on Chinese Classical Music emotion recognition provides evidence that certain similarities exist between Chinese Classical Music and soundscape recordings, which permits transferability between machine learning models.