Abstract: This study deals with the classificational aspects of raags of Hindustani Classical music by grouping raags into thaats and timings. The raags are classified based on the notes and the time of the day. The different timings of the days portrays various emotions, and these emotions are expressed through raags.

Abstract: This study is our sincere effort and service towards Hindustani Classical Music. The raag which we are writing about in this article is Raag Shankara. We have researched multiple resources, which include books, websites, other digital media and multiple performances of various artists. The artists range from vocal, sitar, sarod, surbahar and flute. The aim of this article on Raag Shankara is to bring together the knowledge and historical background of Raag Shankara based on theory, structure, patterns and various ways the artists have expressed it over decades of performances. This article also serves as a unique learning resource for students of various skills, knowledge and performance levels, who are in the process of becoming performers and learners of Hindustani Classical Music. We are not endorsing or following a specific gharana system of music. Rather, we are aiming to keep the structure as it is and the readers are free to apply it to any gharana system or not. We have also included a big list of websites which have performances on Raag Shankara, and this will serve the learner in a multitude of ways.

Abstract: This study is our sincere effort and service towards Hindustani Classical Music. The raag which we are writing about in this article is Raag Yaman. We have researched multiple resources, which include books, websites, other digital media and multiple performances of various artists. The artists range from vocal, sitar, sarod, surbahar and flute. The aim of this article on Raag Yaman is to bring together the knowledge and historical background of Raag Yaman based on theory, structure, patterns and various ways the artists have expressed it over decades of performances. This article also serves as a unique learning resource for students of various skills, knowledge and performance levels, who are in the process of becoming performers and learners of Hindustani Classical Music. We are not endorsing or following a specific gharana system of music. Rather, we are aiming to keep the structure as it is and the readers are free to apply it to any gharana system or not. We have also included a big list of websites which have performances on Raag Yaman, and this will serve the learner in a multitude of ways. It would be ambitious to say that this is the first resource on Raag Yaman, but we can certainly say for sure that a study with such detail does not exist. We can confidently say that if a learner follows this article to learn Raag Yaman, then they would not have to spend endless hours researching the theory from other resources.

Abstract: This article proposes a novel method to describing the chord relations involving triads and seventh chords. It is based on the quantity of semitones between two chords, while also considering the quantity of common tones and the quality and quantity of intervals beyond semitones and common tones. The premise of this research is that the existence of semitones and quantity of semitones between chords are correlated with the degree of tendency of their relation. After examining the effects of semitones, common tones, and other intervals between two chords, this article introduces a new concept called “Chord Relation Value” to facilitate a quantitative and qualitative analysis of chord relations. A key innovation of this study is its departure from traditional voice leading concepts by examining all possible semitonal movements between two chords, leading to conclusions that differ from those of existing analytical theories. Through the analysis of musical excerpts from various periods, including classical music, pop music, jazz music and film music, this article demonstrates that the Chord Relation Value is highly effective in analyzing and describing the chord relations involving triads and seventh chords, applicable in both tonal and non-tonal contexts.

Abstract: This article examines the nature of musical stimuli used in eye-movement research on music reading, with a focus on syntactic elements essential for fluent reading: melody, rhythm, and harmony. Drawing parallels between language and music as syntactic systems, the study critiques the widespread use of stimuli that lack coherent musical structure, such as random pitch sequences or rhythmically ambiguous patterns. Eight peer-reviewed studies were analyzed based on their use of stimuli specifically composed for research purposes. The findings reveal that most stimuli do not reflect authentic musical syntax, limiting the validity of conclusions about music reading processes. The article also explores how researchers interpret the concept of “complexity” in musical stimuli, noting inconsistencies and a lack of standardized criteria. Additionally, it highlights the importance of considering motor planning and instrument-specific challenges, which are often overlooked in experimental design. The study calls for more deliberate and informed stimulus design in future research, emphasizing the need for syntactically meaningful musical excerpts and standardized definitions of complexity. Such improvements are essential for advancing the understanding of visual processing in music reading and ensuring methodological consistency across studies.

Abstract: This study explores the modern songs of Kabir Suman, a pivotal figure in contemporary Bengali music, through a semantic, discursive, and inclusive lens. His songs have redefined urban Bengali music by blending political consciousness, personal introspection, and social inclusivity. Through a multidisciplinary framework, this paper investigates how Suman’s lyrical innovations contribute to the cultural and political discourse in West Bengal and beyond. The study uses semantic analysis to unpack the meanings within his lyrics, discursive analysis to explore his thematic strategies, and inclusion theory to assess his engagement with marginalized voices. Findings reveal that Kabir Suman’s oeuvre challenges normative cultural narratives and reconstructs Bengali identity in postmodern urban spaces.

Abstract: This study uses the role of social media in efforts to introduce and preserve traditional Malay music as a valuable cultural heritage. The use of digital platforms such as Facebook, TikTok, Instagram, and YouTube is seen as a strategic way to increase exposure to traditional music, especially to the younger generation who are more inclined to modern music. However, the main challenges faced include lack of exposure, lack of effective promotional strategies, and production of creative content that is less attractive to young listeners. Therefore, this study aims to understand how social media can further expand exposure to traditional Malay music, identify the most relevant social media platforms to use, and identify the challenges faced in promoting this music. This study shows that social media has great potential in ensuring the survival of heritage arts, but requires a more strategic and creative approach to achieve maximum impact.

Abstract: This study explores how Philip Glass's post-minimalist techniques in the film score of *The Hours* interact with the film’s non-linear narrative structure. By integrating musicological analysis and film narrative theory, the paper examines the use of micro-variations, additive processes, and repetitive harmonic structures in Glass’s score. These techniques are shown to not only intensify the emotional resonance of the film but also reinforce its fragmented temporal flow across three interwoven storylines. Case studies of specific scenes illustrate how the music's subtle evolution parallels the narrative’s thematic continuity and psychological depth. This research contributes to the understanding of post-minimalist film scoring, emphasizing the aesthetic and structural synergies between music and moving image.

Abstract: The human voice consists of two major registers: the lower voice, which is regarded as “the chest voice”, and the upper voice, which is regarded as “the head voice”. The lower voice is mainly utilised for normal speech, whilst the activity of singing is more based upon the upper voice. There is an upper section of the “head voice” that is known as “falsetto” and a bridge toward the “whistle” vocal register. There are three general categories of the human singing voice. In males, the three categories are generally known as Bass, Baritone and Tenor, whilst in female voice, the three categories of singing voice are generally known as: Alto, Mezzo-Soprano and Soprano. The determination of the human vocal range is usually done via an assessment of the utilised vocal registries within specific ranges of musical notes from a piano (i.e. C0 - C7, 8 octaves => 64 whole notes, with 38 intermediary notes), and based on the equilibrium of lower-upper vocal registry utilisation in the process. For example, if a lower musical note is hit with the upper vocal registry, then the user is deemed to have a lower vocal range. On the other hand, if a higher musical note is hit with the lower vocal register, then the user is deemed to have a higher vocal range. Furthermore, vocal range is known to be fluid, in accordance to the level of vocal training, as users reported that their vocal ranges widened significantly following extensive, long-term training. The human voice is overall regarded as a musical instrument that has been utilised since the beginning of human history and, as with any musical instrument, the present study emphasises upon the importance of a proportional training of the human voice to ensure that the utmost potential in singing abilities is reached through a thorough, long-term and careful extent of vocal training, exercises, as well as considerable durations of vocal rest in between. The present study compares the long-term development of the human singing voice with the patterns behind the assembly of the Eiffel Tower, which occurred in three stages to create a structure composed of two exponentially-growing curves intersecting with each other at the top, given that it is in a similar manner that the singing voice is developed, with the human voice becoming exponentially more capable of hitting high notes as a result of the training of the head voice (i.e. second section of the Eiffel Tower) and even of the “whistle” register (i.e. third, top section of the Eiffel Tower), with the three human passagios resembling the three levels separating the three sections of the Tower. Such an analogy would support teenage users in resolving puberty-generated vocal gaps and proportionally reflect the theory in which the range of the upper voice expands by 3 quarters of a tone during each training phase displaying a threshold level of both quality and duration, resulting in the R squared value equating to 0.92 (p value < 0.01). With each round of accurate vocal training, a phenomenon occurs in which “a vocal mix” occurs and its quality continuously increases. Such a “mixing” process implicates the reversion of the vocal foundations, in which the random human voice has its foundation changed, from a lower, speaking register, to a higher, singing register. Some vocalists and researchers may describe such contexts in a few words “pulling the voice reversely”, by basing the human voice upon the “head” voice, rather than the “chest” voice, to avoid phenomena of “vocal straining” and “breaks”. Principles of human psychology, as well as emotional and physical wellbeing can apply to effective methods of singing vocal development, meaning that motivation plays a significant role in ensuring a long-term state of vocal progress. The overall manuscript suggests that the successful assembly of the singing human voice reflects the assembly of the Eiffel Tower’s structure, hypothesising that the extension of the human vocal range reflects a two-phase exponential growth model.

Abstract: This study presents a bibliometric analysis of scientific production on women performers in music, employing coauthorship network techniques and altmetric indicators to assess their impact and dissemination. Through the analysis of data extracted from the Scopus and Web of Science databases from 1995 to the present, the study examines the evolution of research in this field, identifying collaboration patterns, thematic trends, and the influence of these studies within the academic community. Traditional bibliometric principles and tools such as VOSviewer were applied for data and metadata processing. The results reveal a progressive increase in the number of publications on this topic, although they remain concentrated in a limited number of specialised journals. Additionally, certain countries and authors dominate coauthorship networks, and the focus of studies has evolved from historical and descriptive analyses to integration with digital methodologies and gender approaches. Finally, altmetric data show a rise in the dissemination of these studies through social networks and academic platforms, suggesting a growing interest in highlighting the role of women in the history of music.

Abstract: Many publications on early house and techno music have the character of documentation and include (auto-)biographical statements from contemporaries of the scene. This literature has led to many statements, hypotheses, and conclusions. Weaknesses of such sources are their selective and subjective nature, and the danger of unclear memories, romanticization and constructive memory. Consequently, a validation through content-based, quantitative music analyses is desirable. For this purpose, the HOuse and Techno music from Germany and AMErica (HOTGAME) corpus was built. Metrics from the field of data quality control show that the corpus is representative and explanatory for house and techno music from Germany and the United States of America between 1984 and 1994. HOTGAME can serve as a reliable source for the analysis of early house and techno music using big data methods, like inferential statistics and machine learning.

Abstract: This research aims to investigate psychological anxiety factors, particularly Music Performance Anxiety (MPA), that influence the sustainability of music learning systems. This study employs an innovative integration of qualitative and quantitative methodologies, marking the first use of a nonlinear system paired with a comprehensive data framework for analyzing questionnaire responses. This approach allows for a detailed examination of the effects of these factors on academic outcomes. Previous research has primarily focused on the fragmented music learning system from the perspective of teachers' instructional strategies, emphasizing phased teaching methods and learning objectives which focus often neglected a significant subset of music learners. Addressing this oversight, the current study specifically centers on the emotional aspects of anxiety within music learning systems, with a particular emphasis on students, who play a crucial role in music education. This perspective enables a deep exploration of how MPA and other related emotional factors affect music learning systems. A notable innovation of this research is the development of a stochastic nonlinear system designed to model the psychological factors impacting student music learning, complemented by a quantitative model that assesses actual learning outcomes. By analyzing this nonlinear system, the research identifies weight values for various negative emotions, particularly those related to MPA, that significantly influence the music learning process. The integration of MPA and other anxiety related emotional factors with practical learning outcomes provides a comprehensive understanding of their combined impact on the music learning system. These insights are invaluable for educators and policymakers aiming to enhance both the effectiveness and emotional well-being within music education. This comprehensive approach offers a novel perspective in understanding and improving the dynamics of music education through a more empathetic and scientifically grounded lens.

Abstract: This case study explores communication challenges faced by Spotify users, focusing on messaging consistency, personalization, and user feedback mechanisms. Conducted with students at Umm Al Quwain University, the study reveals a disconnect between Spotify's communication and user expectations, impacting engagement and satisfaction. Key findings highlight the need for personalized messaging, improved communication channels, and active user feedback incorporation. By implementing these recommendations, Spotify can bridge the communication gap, enhance user experience, and solidify its position as a leader in user-centricity.

Abstract: The adaptation stress experienced by overseas dispatched employees has serious implications for their physical and mental health and work performance. This study aimed to investigate the impact of resource-oriented music listening on work stress among overseas dispatched employees. The study recruited 10 participants of different ages and occupations who had worked abroad for at least 3 years. Five sessions of personalized resource-oriented music listening, and interviews were conducted. The Global Assessment of Recent Stress Scale (GARS) and Job Stress Scale (JSS) were used to measure stress before and after the intervention. Results showed that participants' work stress and perceived stress were significantly reduced after the music therapy intervention. The study also found that 'awareness' and 'self-acceptance' were factors that reduced regulatory stress among overseas dispatched employees. This study highlights the potential of resource-oriented music listening as a useful tool to address workplace stress and promote the well-being of expatriate employees.

Abstract: Humming is probably more effective than speech improving mothers' cardiorespiratory function and infants' self-regulation. We intend to understand the effects of: 1) maternal humming vs. speech on preterm infants’ physiological parameters; 2) maternal humming vs. speech on mothers’ physiological parameters; 3) humming melodic contours and of the lengthening of the final note on preterm infants’ physiological parameters. This study was designed as a single group repeated measure, using microanalytical methodology (ELAN software), with a protocol (silent baseline / speech or humming / silence / humming or speech / silence) applied to preterm dyads (N = 36). Audio and video observations were recorded. Infants’ and mothers’ heart rate (HR) and O2 saturation were observed once a minute. Proportion of O2 saturation relative to HR (Prop. O2 saturation/HR) was estimated for both partners during protocol. We found an infants’ HR mean significantly lower during humming (p = .028), a significantly higher Prop. O2 saturation/HR during humming for infants (p = .027) and for mothers (p = .029). The duration of sinusoidal contours together with the lengthening of the final note predict infants’ Prop. O2 saturation/HR. Musical features of humming seem to improve the physiological stability of preterm infants during kangaroo care.

Abstract: There is a deep link existing between symmetry and nature that may be best apprehended by using group theory. In physics, giving a symmetry group is entirely equivalent to fix natural laws (Noether’s theorem). Within such a framework, it follows that all fundamental mechanical laws may be given by defining a group of symmetry operations belonging to the Gal(3,1) symmetry group having ten generators (3 + 3 + 3 + 1 = 10). The move to special relativity amounts simply to substitute another group ISO(3,1) to Gal(3,1) and having the same number of generators. In both cases, one immediately perceives that we live in universe with 3 dimensions of space and 1 dimension of time. A further progress could be made by looking for the symmetry group that leaves Maxwell’s equations invariant. The answer to this fundamental question is the group ISO(4,2)⊗U(2)⊗U(2) characterized by 23 generators : 15 = 10 + 5 for the conformal group ISO(4,2), 4 for U(2) and hence 8 = 4 + 4 for the compact part U(2)⊗U(2) that could be related to the existence of quantum physics besides relativity. As ISO(3,1) is a sub-group of ISO(4,2), the two numbers 4 and 2 suggests that, taking into account the existence of light besides matter, we live in an universe having 4 spacelike dimensions and 2 time-like dimensions. Here, it is proposed that, as music is characterized by a scale-invariant symmetry operation (transposition by octaves) and that as time may be perceived differently in shamanic trance for instance, the two “new” dimensions of our universe may be related to music and consciousness. Related to the fifth dimension of music, the notion of diapason linking physical frequencies to a musical note is revisited. It is thus proposed to adopt a new A4 = 429.62 Hz value based on universal physical constants of our universe and on the mass of the water molecule H₂O, the most abundant molecule in the universe. Demonstration is done that this new diapason is superior to other diapasons based on frequencies of 440 Hz or even 432 Hz

Abstract: In conclusion, this qualitative exploration has unveiled the profound and essential impact of music on psychological well-being, especially in the post-pandemic world. Through in-depth literature reviews, informal interviews, and observations with thirty CAS participants from SMC, the researcher uncovered ten salient themes that collectively illustrate music's multifaceted role as a potent remedy. These findings showcase how music serves as an emotional outlet, a cognitive enhancer, and a source of inspiration. The emotional depth and spiritual resonance participants associate with music underscore its capacity to address diverse human needs, making it an indispensable tool in navigating the complexities of our post-pandemic reality. Moreover, the cognitive benefits observed, such as improved concentration and focus, are particularly pertinent in the context of remote work and education, highlighting music's necessity in our daily lives. Additionally, this study emphasizes the vital role of virtual music communities in fostering social connections, even amidst physical isolation, further underscoring the enduring relevance of music in these challenging times. This research contributes to the expanding knowledge of music's impact on well-being, offering a holistic perspective encompassing spiritual, emotional, social, and cognitive dimensions. It enriches existing music psychology theories and invites further exploration into the mechanisms underpinning music's diverse effects. These insights have practical implications for fields such as mental health, education, and remote work, where music can be utilized as an essential tool for stress reduction and emotional regulation. This is highlighted further in the Suggested songs that can help sought the mind, body, spirit and soul. Looking ahead, future research could delve deeper into the long-term impact of music engagement on well-being and explore the universality of music's benefits through cross-cultural studies. Overall, music, as illuminated by this study, stands as a timeless and indispensable companion, offering solace, inspiration, vitality, and connection in the face of any contemporary challenges.

Abstract: Incarceration negatively affects well-being and can shift an individual’s identity through labeling theory and prisonization. Seven incarcerated girls at a juvenile residential facility were administered self-esteem and life satisfaction questionnaires, and interviews were conducted to assess the impacts of incarceration on happiness and well-being. Afterwards, an eight-week music program was implemented. Results indicated that life satisfaction was significantly lower than self-esteem (p = .037), yet all participants expressed an optimistic outlook on their future in their interviews, sharing a desire to pursue further education. Participant feedback following the music program suggests positive impacts on their emotional state and well-being.

Abstract: The metaphor of being touched by music is widespread and almost universal. The tactile experience, moreover, has received growing interest in recent years. There is, however, a need to go beyond a mere metaphorical use of the term, by positioning the tactile experience within the broader frame of embodied cognition and the experiential turn in cognitive science. This article explores the possible contribution of a science of touch by defining music as a vibrational art that impinges upon the body and the senses. It takes as a starting point the clinical findings on the psychological and physiological value of tender touch with a special focus on the method of kangaroo mother care, which is a method for holding the baby against the chest of the mother, skin-to-skin. It is seen as one of the most basic affiliative bonding with stimuli that elicit reward. Via an extensive review of the research literature, it is questioned to what extent this rationale can be translated to the realm of music. There are, in fact, many analogies, but a comprehensive theoretical framework is still lacking. This article aims at providing at least some preparatory groundwork to fuel more theorizing about listening and its relation to the sense of touch.

Abstract: The purpose of the current study was the level of the self-confidence among with high musical abilities Student? The randomly selected sample consisted of students (n= 130, M= 65, F= 65) . The analytical descriptive approach was applied in the study and self-confidence Scale developed by the author was administered to participants. Results indicated that: - The self-confidence among the high musical abilities Student students was rated high. There were no statistically significant differences at (α=≤0.05) attributed to effect of sex on the self-confidence overall degree. There were statistically no significant differences at (α≤0.05) attributed to effect of achievement on the self-confidence overall degree,