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Music videos today sample and rework a century's worth of movies and other pop culture artifacts to offer a plethora of visions and sounds that we have never encountered before.As these videos have proliferated online, they have become more widely accessible than ever before. InDigital Music Videos, Steven Shaviro examines the ways that music videos interact with and change older media like movies and gallery art; the use of technologies like compositing, motion control, morphing software, and other digital special effects in order to create a new organization of time and space; how artists use music videos to project their personas; and how less well known musicians use music videos to extend their range and attract attention.Surveying a wide range of music videos, Shaviro highlights some of their most striking innovations while illustrating how these videos are creating a whole new digital world for the music industry.

The American musical has long provided an important vehicle through which writers, performers, and audiences reimagine who they are and how they might best interact with the world around them. Musicals are especially good at this because they provide not only an opportunity for us to enact dramatic versions of alternative identities, but also the material for performing such alternatives in the real world, through songs and the characters and attitudes those songs project.

We provide algorithms for efficiently moving and addressing quantum memory in parallel. These imply that the standard circuit model can be simulated with a low overhead by a more realistic model of a distributed quantum computer. As a result, the circuit model can be used by algorithm designers without worrying whether the underlying architecture supports the connectivity of the circuit. In addition, we apply our results to existing memory-intensive quantum algorithms. We present a parallel quantum search algorithm and improve the time-space trade-off for the element distinctness and collision finding problems.

The production of traditional music is too complicated, consuming a lot of financial and human resources. Therefore, this paper aims to use artificial intelligence (AI) for songwriting and to explore the development and application of the Generative Adversarial Network (GAN) in smart music. An improved GAN-based Multi-Track Music (MTM)-GAN is established. The model is validated with the generation of 5 different music tracks for bass, drums, guitar, piano, and strings. The verification results are compared with the music generated by the existing Multi-Track Sequential GAN (MuseGAN) index evaluation method. The results show that many music clips generated by the MTM-GAN model are smooth and have a certain artistic aesthetic effect. Through the comparison of the two convergence curves of MuseGAN and MTM-GAN, when the penalty term is increased, the MTM-GAN of Consistency Term (CT) converges faster, and the training process is more stable. The numerical space of the parameter distribution obtained by the MTM-GAN-based music segment test is significantly smaller than that of MuseGAN. The probability of MTM-GAN overfitting is small. 62.8% of music listeners cannot distinguish the generated melody from the real melody. Therefore, the proposed model has the advantages of a more stable, more realistic, and faster fitting speed in music generation, indicating that the music generation method is effective.

Designed by architect Albert C. Martin, the auditorium's interior was in Spanish Renaissance style with a coffered and stenciled ceiling, gold-leaf organ screens, proscenium, and large amber-glass chandeliers. The architects provided space for an organ, but no funds were allocated for the purchase of an instrument, so the students and alumni associations took on the responsibility of raising money for an organ. After reviewing submissions, Poly High chose the Estey Organ Company to supply its new facility with a four-manual organ, with 34 speaking stops, a console equipped with Estey's \"Luminous Piston\" stop action, and an automatic roll player in a cabinet separate from the console. Between 1906 and 1912, McQuigg was head voicer for Harris, joining Estey as the company's Southern California representative in 1912. Please write me particulars at once for the architect's use, giving conduits size, tone openings, whether best divided, etc.

Topophilia, understood as a form of relationship between humans and their environment, can manifest in diverse ways—not only across various domains of art and life but also within the realm of music. This article seeks to expand the thesis of topophilia as a category defining the musical space of creation, performance, and perception of a musical work. Topophilia is seen here in the context of human activity in the artistic dimensions—philosophical, creative, architectural, and environmental. The methodological background is derived from the philosophy of place, phenomenology of perception, and musical analysis. This provides the opportunity to apply hermeneutic–philosophical analysis with elements of the theory of place. The thesis of this study is probably one of the first approaches to the category of topophilia in musical analysis, examining the style of composers, such as J.S. Bach, F. Chopin, K. Szymanowski, W. Lutosławski, A. Webern, and I. Xenakis, enriched with elements of musical performance.

The communion of senses operates in the human being. Attempts to cross borders have been made for a long time and in different directions, and the contributions can be very enriching. Architecture, like music, is an unavoidable art. We live or share spaces created by the human hand. Friedrich von Schelling referred to architecture as frozen music, Goethe defined it as petrified music, and Gerardo Diego described music as sound architecture. There are many paths shared between the architect and the musician. Terminology is one of them. Architects talk to us about rhythm and harmonies, while musicians do the same about soundscapes and chromaticisms. The coincidences do not end with terminology. There are many other ways of integrating music and architecture. Spaces, forms, functionality, or delight are other aspects shared by musicians and architects.

Music is the most convenient and easy-to-use stress release tool in modern times. Many studies have shown that listening to appropriate music can release stress. However, since it is getting easier to make music, people only need to make it on the computer and upload it to streaming media such as Youtube, Spotify, or Beatport at any time, which makes it very infeasible to search a huge music database for music of a specific genre. In order to effectively search for specific types of music, we propose a novel method based on the visual Mel spectrum for music genre classification, and apply YOLOv4 as our neural network architecture. mAP was used as the scoring criterion of music genre classification in this study. After ten experiments, we obtained a highest mAP of 99.26%, and the average mAP was 97.93%.

Although music and architecture have a stimulating relationship, we seldomly observe both in the same place and time. Different music genres have different correlations with architecture. This paper emphasizes and analyzes the connection between music and architecture, narrowing the investigation on hip hop genre and architecture. The correlation between these two is complex and rarely understood without a proper study. Nevertheless, these two disciplines, seemingly distant fields, share similarities that illustrate the same development path of creating. This study aims to extract and emphasize the most dominant characteristics of the affiliations between music and architecture. In contrast, this study provides a unique design and composing process by synthesizing qualitatively the gathered information. It converts music to an architectural model, a design that represents appealingly different architecture, or an architectural arrangement about collage, remix, and sampling, same as the challenging site and context of the setting, as an epitome of hip-hop music itself.