online music
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Music is a widely used data format in the explosion of Internet information. Automatically identifying the style of online music in the Internet is an important and hot topic in the field of music information retrieval and music production. Recently, automatic music style recognition has been used in many real life scenes. Due to the emerging of machine learning, it provides a good foundation for automatic music style recognition. This paper adopts machine learning technology to establish an automatic music style recognition system. First, the online music is process by waveform analysis to remove the noises. Second, the denoised music signals are represented as sample entropy features by using empirical model decomposition. Lastly, the extracted features are used to learn a relative margin support vector machine model to predict future music style. The experimental results demonstrate the effectiveness of the proposed framework.

Given the current pandemic context generated by COVID 19, important changes in the way specific subjects to music education are taught emerged, affecting not only the particularities of learning and teaching in individual courses, but also the other courses regarding group learning or theoretical subjects. In this time, emergency remote teaching and learning requires cross-collaboration between instructional, content, and technological teams. Our research examines the students' attitudes toward online education, also presenting proposals for optimization and efficiency. The research was undertaken after an experience of a University semester in a lockdown context, and it aimed at undergraduate and master's degree students from music faculties in Romania. An important result was the mediating role of perceived utility of e-learning methods, perceived utility mediated the associations between compatibility of online methods and satisfaction toward the use of e-learning methods. The perceived compatibility of e-Learning methods with online music education led to a higher perceived utility which, in turn, predicted a higher satisfaction toward e-Learning Although this period accentuated the fear of interaction with others, the anxiety related to the unknown, the intolerance of uncertainty did not predict the satisfaction toward the use of e-learning platforms. In conclusion, more educational initiatives are needed to promote remote teaching methods in music education. In the absence of similar research in our country, we considered that future research on this topic is needed.

<div>Purpose: Build new musician-listener interaction using smart watch for online music.</div><div>Tools: Smart Watch, Kinect, Touchdesigner<br></div>

<div>Purpose: Build new musician-listener interaction using smart watch for online music.</div><div>Tools: Smart Watch, Kinect, Touchdesigner<br></div>

Many researchers have discussed the feasibility of teaching and learning practical skills, such as playing a musical instrument, through distance education. One of the central issues considered in music education is that of motivation, leading educators to wonder how students might remain motivated when learning music at a distance. In this article, I use self-determination theory (SDT) as a lens for examining existing literature on distance music education to identify elements of learning environments that may contribute to, or detract from, the fulfillment of students’ psychological needs. I oriented my reading of the literature toward offering insights on the nature of motivation in online music education and providing educators with tools informed by SDT to maintain and nurture motivation when teaching music online.

Online collaboration between musicians in 2020 is a rapidly developing practice due to a range of environmental, epidemiological and creative motivations. The technical facility to collaborate in a variety of different formats exists via file-sharing services, video conferencing suites and specialist music services such as Splice and Auddly. Yet, given this proliferation of technologies, little attention has been paid into how creative musicians can most meaningfully utilize these new collaborative opportunities within their working practice. In this article, we wish to share some reflections from a case study of online music collaboration gained through our experience of facilitating three online songwriting camps with students from Leeds Conservatoire in the United Kingdom and Rhythmic Music Conservatory in Denmark. This article will particularly focus on the importance of managing roles, the impact of communication tools and the requirement for time management when collaborating online before proposing a set of guidelines derived from this study to help enable productive online creative collaboration.