Thematische Bibliographien / Electronic music

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Auswahl der wissenschaftlichen Literatur zum Thema „Electronic music“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Electronic music"

Ma, Lita. „Bentuk dan Elemen Musik Akustik dalam Piano Kover Lagu ‘DNA’ karya BangtanSonyeondan (BTS)“. PROMUSIKA 9, Nr. 2 (17.03.2022): 78–83. http://dx.doi.org/10.24821/promusika.v9i2.5435.

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Perpaduan antara musik elektronis dan musik populer menghasilkan aliran musik baru, yaitu Electronic Dance Music (EDM). EDM merupakan genre musik elektronis perkursif dengan menggunakan peralatan berteknologi tinggi. Salah satu tempat yang mulai mengeksperimen EDM adalah Korea Selatan, yaitu Kpop atau lebih dikenal sebagai Korean Pop. Kpop menggunakan perpaduan antara musik Korea dengan musik Barat, salah satu contoh yang menggunakan EDM adalah lagu ‘DNA’ karya grup BTS. Masyarakat sekarang suka mengkover lagu ke bentuk vokal ataupun instrument, salah satunya adalah piano kover. Permasalahan yang diteliti adalah mengetahui bentuk dan elemen musik EDM dalam bentuk piano kover. Penelitian ini bertujuan untuk mengetahui bentuk dan elemen musik lagu ‘DNA’ karya BTS dalam piano kover. Penelitian ini menggunakan metode kualitatif dengan pengambilan data berupa studi literatur, studi diskografi, dan observasi. Hasil penelitian menunjukkan bahwa bentuk musik yang diterapkan dalam piano kover tetap sama, tetapi terdapat perbedaan dalam elemen musik, yaitu poliritmik, harmoni, dan warna nada.AbstractForms and Elements of Acoustic Music in Bangtansonyeondan (BTS)'s Piano Cover of 'DNA'. Electronic music and popular music combined resulted in a new genre of music, namely Electronic Dance Music (EDM). EDM is a percussive electronic music genre using high-tech equipment. One of the places that started experimenting with EDM was South Korea, namely Kpop or Korean Pop. Kpop uses a mix of Korean music with Western music. One example that uses EDM is the song 'DNA' by the BTS group. People now like to cover songs to vocals or instruments, one of which is a piano cover. The problem under study is knowing the form and elements of EDM music in a piano cover. This study aims to determine the form and musical elements of the song 'DNA' by BTS on the piano cover. This study uses qualitative methods with data collection in literature studies, discography studies, and observations. The results showed that the musical form applied to the piano cover remained the same, but there were differences in the musical elements, namely polyrhythmic, harmony, and tone colour.Keywords: electronic music; music popular; EDM; Kpop; piano cover

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Sofer, Danielle. „Categorising Electronic Music“. Contemporary Music Review 39, Nr. 2 (03.03.2020): 231–51. http://dx.doi.org/10.1080/07494467.2020.1806628.

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Lewis, Ralph. „Electronic Music Midwest.“ Computer Music Journal 43, Nr. 1 (Januar 2020): 79–87. http://dx.doi.org/10.1162/comj_r_00501.

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Vickery, Lindsay. „The Western Edge: some recent electronic music from Western Australia“. Organised Sound 6, Nr. 1 (April 2001): 69–74. http://dx.doi.org/10.1017/s1355771801001108.

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A survey is presented of developments in recent Western Australian electronic music, focusing on the geographical influence on local composers' work. The article follows specific cases of practitioners in the fields of Sound Art (Alan Lamb and Hannah Clemen), Live Electronics (Cathie Travers and the electronic music quartet Magnetic Pig), Interactive Electronics (Jonathan Mustard and Lindsay Vickery) and Noise/Lo Fi Electronics (Cat Hope and Lux Mammoth).

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Bondarenko, Andriy. „UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL“. Scientific Journal of Polonia University 43, Nr. 6 (18.06.2021): 9–15. http://dx.doi.org/10.23856/4301.

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The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic sounds with the sounds of Ukrainian folklore are intensified. In particular, the article considers the works of the 2000s-2010s by O. Nesterov and A. Zahaikevych, representing folk electronics in the academic sphere, and works by Katya Chilly, Stelsi, Kind of Zero representing folk electronics in non-academic music. The aesthetic basis of such combinations was the musical neo-folklore of the last third of the XX century and the achievements of folk rock in the late 1990s. Intensification of these searches in the late 2010s, in particular the popularity of such artists as Ruslana, Onuka, Go_A allow us to talk about intensifying the national revival processes in the musical culture of Ukraine and involving Ukrainian music in the world culture preserving its national identity.

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Vágnerová, Lucie. „‘Nimble Fingers’ in Electronic Music: Rethinking sound through neo-colonial labour“. Organised Sound 22, Nr. 2 (12.07.2017): 250–58. http://dx.doi.org/10.1017/s1355771817000152.

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How can historians of electronic music address the factory labour of the global underclass of women building electronics used in sound technologies? How can we speak to the repetitive work of women who are racially and sexually stereotyped as having ‘nimble fingers’, being ‘detail oriented’ and ‘obedient’? Although women workers in electronics assembly are already de facto entangled in contemporary sound production, scholars have yet to enfold their lives and labour into histories of electronic music. I situate electronic sound technologies since the 1960s in the contexts of the global division of labour and the intimate disciplining of women’s bodies, and investigate the discursive fallout of transnational subcontracting in the electronics industry. I argue that rethinking the category ‘women in electronic music’ is a necessary step for sound studies and musicology, and I call for a new disciplinary understanding of electronic sound and audio as fundamentally neo-colonial.

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Afdhal, Muhammad. „“REPUBLIKEN” MENYATU DALAM PERBEDAAN“. Imaji 17, Nr. 1 (27.06.2019): 66–73. http://dx.doi.org/10.21831/imaji.v17i1.25736.

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Republiken adalah penganut ketatanegaraan yang berbentuk republik. Istilah Republiken menunjukkan suatu kesatuan masyarakat yang berbangsa dan berdaulat. Republiken dalam kaitannya dengan karya seni ini adalah suatu bentuk semangat berbangsa melalui seni, dalam hal ini musik, menunjukkan bahwa perbedaan ras atau suku bukanlah masalah untuk bangsa Indonesia menjadi semangat yang satu. Karya komposisi musik yang berjudul “Republiken”, diharapkan dapat menunjukkan semangat berbangsa melalui beberapa karakteristik musik-musik nusantara yang diekspresikan melalui EDM atau Elektronik Dance Music yang merupakan sebuah rumah besar untuk genre-genre musik, seperti disco, dupstep dan sebagainya, karena sebagian alat musiknya menggunakan alat-alat elektronik seperti gitar elektrik, keyboard, synthesiezer dan lauchpad yang dewasa ini menjadi alat musik yang banyak digunakan dalam penciptaan musik EDM “REPUBLIKEN” UNITES IN DIFFERENCESAbstractRepubliken are followers of republic constitutions. The term Republiken shows a united nation and sovereign community. In relation to this work of art, Republiken is a form of nationalism spirit through art—in this case music—showing that racial or ethnic differences are not a problem for Indonesian people to be one spirit. The music composition works entitled "Republiken", are expected to show the spirit of nationalism through several characteristics of archipelago music expressed through EDM or Electronic Dance Music which is a big house for music genres, such as disco, dupstep and so on, because some of the music tools uses electronic devices like electric guitars, keyboards, synthesizers and lauchpads which today are a musical instrument that is widely used in EDM music creation

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Heuguet, Guillaume. „Electronic music history reloaded: Ishkur’s online “Guide to electronic music 3.0”“. Sound Studies 6, Nr. 2 (02.07.2020): 275–79. http://dx.doi.org/10.1080/20551940.2020.1794332.

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Mazierska, Ewa. „Improvisation in Electronic Music—The Case of Vienna Electronica“. Open Cultural Studies 2, Nr. 1 (01.12.2018): 553–61. http://dx.doi.org/10.1515/culture-2018-0050.

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Abstract The purpose of this article is to establish what improvisation means and how it is used by electronic musicians operating in Vienna from the late 1980s till the present day: Peter Rehberg, Peter Kruder, Rupert Huber, Patrick Pulsinger, and the members of the band Sofa Surfers. It attempts to find out whether they believe that their choice of electronic instruments enhanced or impeded their ability to improvise and their sense of artistic agency; what type of improvisation they favour and what are their views on the changing role of improvisation in producing electronic music. It also examines the difference between old and new style electronic instruments in improvisation and music production at large. Finally, it asks a question whether the musicians had any views about the link (or the lack thereof) between the cultural milieu in which they operate and their willingness and ability to improvise.

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Hammer, Ernest Lee, und Peter Manning. „Electronic and Computer Music“. Computer Music Journal 12, Nr. 2 (1988): 54. http://dx.doi.org/10.2307/3679942.

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Dissertationen zum Thema "Electronic music"

Chantler, John. „No Such Array : Developing a material and practice for electronic music performance“. Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4170.

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I have been designing and building a set of battery powered hybrid synthesizer speaker objects that can be deployed in any location without the need for any additional infrastructure. Composing for and performing with the resulting system has become the focus of my artistic practice. This project brings together my interests in composition, design, synthesis, politics and performance to investigate new methods for performing and experiencing electronic music. The work takes the idea of the impossibility of an objective listener as its starting position and generates environments that give agency to the listener to create their own sonic experience of a given space. It also engages in questions of power and how this practice might work throughits entanglement in various power relations as a minor practice by introducing and opening up the conditions of possibility for other actions. This thesis traces the aesthetic roots of my undertaking in the work of others, including Okkyung Lee, Rie Nakajima, Tetsuya Umeda, Marginal Consort, Tony Conrad and Luc Ferrari. It also details my own experience creating work for the GRM's Acous- monium, the series of decisions made in creating my own alternative speaker orchestra, and the practical process of situated learning2 that I have undertaken to develop a performance practice via three stagings: at Röda Sten Konsthall in Göteborg, within a pedestrian underpass running below the E4 national highway, and at Järvafältet Nature Reserve, north of Stockholm.

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Ciraulo, Christopher Samuel. „UEME : the underground electronic music experience“. Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/31198.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2005.
Includes bibliographical references (p. 120-121).
The global electronic music scene has remained underground for its entire lifespan, momentarily materializing during an event, a place defined by the music performed and the people who desire the experience. As festivals around the globe begin to take shape, the identity of electronic music defines itself almost instantaneously with a strict desire to return to its roots and find a new place to redefine itself in the next moment. The next moment is envisioned in Chicago. The city becomes a stage, through its current reputation as an event place, and through a new idea for an electronic music event alive within the interstitial spaces of the downtown. The art of electronic music, specifically the DJ and the sampling of music old and new, becomes the underlying process by which spaces are "sampled" to create a movement of light, sound and crowd through the dense architecture of Chicago's loop.
Christopher Samuel Ciraulo.
M.Arch.

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Flanagan, Beavan. „Turning over, for 13 instruments, piano, electronic microtonal piano and electronics“. Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116997.

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Turning Over is a 13-minute composition for 13 instruments, piano, electronic piano and pre-recorded electronics. A strong emphasis on harmony, representing the result of two years of research into various intonation theories of the 17th, 18th and 20th centuries, is reflected in the subtle variations in intonation between the equal-tempered acoustic instruments and the just-intonation tuning of the electronics as well as the electronic piano. The musical discourse reflects philosophical concerns regarding the concept of essence in music and its illusive nature – this translates into a musical form that is in a constant state of transformation.
Turning Over ('ressasser') est une composition pour 13 instruments, piano, piano électronique et sons électroniques d'une durée de 13 minutes. Un fort accent sur l'harmonie, qui est le résultat de deux années de recherche sur les théories du tempérament musical du 17e, 18e et 20e siècle, est reflété dans les variations subtiles de tempérament entre les instruments acoustiques et les éléments électroniques. Le discours musical reflète des préoccupations philosophiques concernant le concept de l'essence dans la musique et de sa nature illusoire – ceci se traduit dans une forme musicale qui est toujours en état de transformation.

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Jacobson, Kurt. „Connections in music“. Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/6020.

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Connections between music artists or songs provide a context and lineage for music and form the basis for recommendation, playlist generation, and general navigation of the musical universe. We examine the structure of the connections between music artists found on the web. It is shown that different methods of finding associations between artists yeild different net- work structures - the details of associations and how these associations are discovered impact the global structure of the artist network. This realization informs our associations framework - based on seman- tic web technologies and centered around a small RDF/OWL ontology that emphasizes the provenance and transparency of association statements. We develop the MuSim Similarity Ontology and show how, combined with the concepts of linked data, it can be used to create a distributed web-scale ecosystem for music similarity. The Similarity Ontology is evaluated against psychological models for similarity and shown to be flexible enough to accommodate each model examined. Several applications are developed based on the visualization of music artist network structures and the utilization of our associations framework along with other music-related linked data.

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Sheppard, Adam. „Aesthetic Practices in my Live Electronic Music“. Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/202.

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Live music has the ability to unite individuals and affect them on both cognitive and emotional levels. Its time-honored tradition remains the true test of a musical work?s strength and longevity. Electronic music in particular has had some difficulty in establishing well-formed performance practices in its relatively short life span. The problem may not be one of sonic, but rather visual inhibition and general discontinuities between the audience and performers. In this paper I raise three questions of aesthetic value concerning live performance. Why do we go to live musical performances? How do we perceive sound? How do we correlate physical gestures? To answer, I make observations on selected works spanning the continuum of the field.

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Sosa, Ortega Jorge Raymundo Rudy Paul. „Refractions a collection of three pieces for solo instruments and fixed electronic media /“. Diss., UMK access, 2008.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.
First piece for amplified clarinet and fixed electronic media, the second piece for electric guitar and fixed electronic media, and the third piece for amplified high voice (soprano or tenor) and fixed electronic media. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

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Bassingthwaighte, Sarah. „Electroacoustic music for flute /“. Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11390.

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Davies, Robin 1975. „Toolkit : specialized software tools for electronic music composition“. Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32905.

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This research presents new audio creation and processing tools for the virtual electronic music studio. The Tools were created by the author in the Max/MSP authoring environment. Some Tools model analog production techniques lost when studios moved inside computers, and provide additional functionality only possible in the digital world. Others make use of traditional processing ideas but add a level of control difficult to find in today's audio software plug-ins. The Tools are small, simple, real-time, and user-controllable devices for working with sound.

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Rawlinson, Julian Dean. „Interpretive electronic music systems : a portfolio of compositions“. Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5973.

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A portfolio of electronic music compositions employing adaptable controllers, graphic notation, and custom software performance environments. The portfolio is comprised of scores, recordings, and supporting software and audio files for the following: Short Circuit; Sample & Hold; Mute | Solo; NCTRN; Radio | Silence; and Please use the tramps provided. Supplementary files include alternative audio and video recordings of some of the works listed above, additional software documentation, and a video recording of a structured improvisation featuring the controllers and software used in this portfolio.

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Payling, David. „Visual music composition with electronic sound and video“. Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/2047/.

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This research project investigated techniques for composing visual music and achieving balance in the relationship between sound and image. It comprises this thesis and a portfolio of compositions. The investigation began with an interest in the relationships between colour and sound and later expanded to include form and motion, the remaining factors of Thomas Wilfred’s lumia (1947). Working with a cohesive theme, such as lumia, proved to be an effective way of creating a coherent aesthetic in portfolio pieces. Other themes were therefore investigated including composing with visual and audio materials recorded from the single source of Thailand, the wave phenomena of refraction and diffraction and a filmed natural sunset interpreted in electroacoustic music. Two distinct compositional techniques were used, material transference, where qualities were transferred between sound and image, and compositional thinking, which assisted in creating audio-visual compositions that possessed musical qualities. Material transference proved to be the most productive technique during composing and it was discovered that effectuating it algorithmically created a strong bond between sound and image. Compositional thinking assisted in creating the form of the portfolio pieces and was found to apply to both video and music. Compositional thinking was found to be useful at the macro level, where structural form was designed, and material transference worked at a finer micro level, transferring individual qualities between sound and video objects.

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Bücher zum Thema "Electronic music"

Collins, Nicolas. Handmade Electronic Music. Herausgegeben von Nicolas Collins. Third edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429264818.

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Stevens, Blake. Teaching Electronic Music. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815349.

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National Radio Institute (Washington, D.C.), Hrsg. Electronic music technology. Washington, D.C: McGraw-Hill Continuing Education Center, 1988.

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Holmes, Thomas B. Electronic andexperimental music. New York: Scribner's, 1985.

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National Council for Educational Technology. Electronic music systems. 2. Aufl. London: NCET, 1990.

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1965-, Bogdanov Vladimir, Hrsg. All music guide to electronica: The definitive guide to electronic music. San Francisco: Backbeat Books, 2001.

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Manning, Peter. Electronic and computer music. 2. Aufl. Oxford: Clarendon Press, 1994.

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T, Horn Delton, Hrsg. Digital electronic music synthesizers. 2. Aufl. Blue Ridge Summit, PA: Tab Books, 1988.

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Coakley, W. D. The electronic music dictionary. Lantana, Fla. (315 North Lake Drive, Suite 16, Lantana, Florida 33462): W.D. Coakley, 1988.

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Shipton, Alyn. Keyboards and electronic music. Austin, Tex: Raintree Steck-Vaughn, 1994.

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Buchteile zum Thema "Electronic music"

Hartmann, William M. „Electronic Music“. In Principles of Musical Acoustics, 279–86. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_27.

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Kaul, Timor. „Electronic Body Music“. In Handbuch Popkultur, 102–6. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05601-6_18.

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Battier, Marc. „Analyzing Electronic Music“. In Teaching Electronic Music, 58–74. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815349-5.

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Ross, Sara. „Overlooking the Scene: Electronic Music and Toronto’s Music City Project (1999–2019)“. In Electronic Cities, 79–94. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4741-0_6.

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Sallis, Friedemann, Valentina Bertolani, Jan Burle und Laura Zattra. „Introduction“. In Live Electronic Music, 1–13. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-1.

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Benedictis, Angela Ida De. „Authorship and performance tradition in the age of technology“. In Live Electronic Music, 195–216. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-10.

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Scaldaferri, Nicola. „(Absent) authors, texts and technologies“. In Live Electronic Music, 217–29. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-11.

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Biró, Dániel Péter, und George Tzanetakis. „Computer-supported analysis of religious chant“. In Live Electronic Music, 230–52. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-12.

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Burle, Jan. „Fixing the fugitive“. In Live Electronic Music, 253–74. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-13.

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Sallis, Friedemann. „A spectral examination of Luigi Nono’s A Pierre. Dell’azzurro silenzio, inquietum (1985) 1“. In Live Electronic Music, 275–89. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-14.

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Konferenzberichte zum Thema "Electronic music"

Li, Dejun, und Tian Xia. „Electronic music clothing“. In International conference on Management Innovation and Information Technology. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/miit130121.

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Guoping You und Wanghui Zeng. „Electronic music box design“. In 2016 2nd IEEE International Conference on Computer and Communications (ICCC). IEEE, 2016. http://dx.doi.org/10.1109/compcomm.2016.7924848.

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Hayes, Lauren. „Live Electronic Music Performance“. In MOCO '18: 5th International Conference on Movement and Computing. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3212721.3212891.

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Crab, Simon. „Exploring the Mystical Origins of Electronic Music“. In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/mysticalorigins.

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Siva Sankalp P., Trinayan Baruah, Shlesh Tiwari und Sankar Ganesh S. „Intelligent classification of electronic music“. In 2014 IEEE International Symposium on Signal Processing and Information Technology (ISSPIT). IEEE, 2014. http://dx.doi.org/10.1109/isspit.2014.7300559.

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Mazurowski, Lukasz. „Generative electronic background music system“. In PROCEEDINGS OF THE INTERNATIONAL CONFERENCE ON NUMERICAL ANALYSIS AND APPLIED MATHEMATICS 2014 (ICNAAM-2014). AIP Publishing LLC, 2015. http://dx.doi.org/10.1063/1.4912880.

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Su, Weilin, und Jie Ling. „Real-time visualization design of electronic music based on immersion theory“. In AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004227.

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In the context of the current multi-cultural integration, people are eager to obtain multi-sensory experience in music aesthetics. According to the definition and classification of electronic music, this paper analyzes its different characteristics from different angles, and discusses the immersive design of music visualization performance and performance space based on the author's works as an example; puts forward the problems and corresponding solutions in existing electronic music performances ;Aiming at the characteristics of electronic music that are different from traditional music performance, the corresponding mapping rules, technical means, and expression methods are proposed to realize the visualization of music.

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Eigenfeldt, Arne, und Philippe Pasquier. „Evolving structures for electronic dance music“. In Proceeding of the fifteenth annual conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2463372.2463415.

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Robinson, Frederic, Cedric Spindler, Volker Böhm und Erik Oña. „Gestural control in electronic music performance“. In the Audio Mostly 2015. New York, New York, USA: ACM Press, 2015. http://dx.doi.org/10.1145/2814895.2814901.

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Goel, Utkarsh, Gulnawaz Aamir, Kanika Shah und Mohammad Abdul Qadeer. „E-radio: The electronic music service“. In 2011 IEEE 3rd International Conference on Communication Software and Networks (ICCSN). IEEE, 2011. http://dx.doi.org/10.1109/iccsn.2011.6014344.

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Berichte der Organisationen zum Thema "Electronic music"

Hickey, James. The Electronic Hardware Music Subculture in Portland, Oregon. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.7470.

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Sun, Chenbing, Zhe Wang und Yuening Dai. Music therapy for sleep quality in cancer patients with insomnia：A protocol for systematic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, Dezember 2021. http://dx.doi.org/10.37766/inplasy2021.12.0128.

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Review question / Objective: The aim of this systematic review is to compare music therapy in terms of efficacy in cancer patients with insomnia disorders to better inform clinical practice. Condition being studied: The effectiveness of music therapy for cancer- associate insomnia is the main interest of this systematic review. Information sources: MEDLINE (PubMed, Ovid) The Cochrane Library, Web of Science, Embase and Electronic retrieval of Chinese Biomedical Literature Database (CBM), China National Knowledge Infrastructure (CHKD-CNKI), VIP database, Wanfang Database will be searched from inception time to date. In addition, the included literature will be reviewed and relevant literature will be supplemented.

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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn und Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], Juli 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”. The software tools for mobile application development (Android Studio, SDK, NDK, Google Sceneform, 3Ds MAX, Core Animation, Asset Media Recorder, Ashampoo Music Studio, Google Translate Plugin) are described. The bank of 3D models of elements of electrical circuits (sources of current, consumers, measuring devices, conductors) is created. Because of the students’ and teachers’ surveys, the advantages and disadvantages of using AR in the teaching process are discussed. Mann-Whitney U-test proved the effectiveness of the use of AR for laboratory works in physics by students majoring in “Mathematics”, “Computer Science”, and “Cybersecurity”.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, Februar 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

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