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Auswahl der wissenschaftlichen Literatur zum Thema „Music“
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Zeitschriftenartikel zum Thema "Music"
1
Raharja, Budi. „Musik Iringan Drama Tari Pengembaraan Panji Inukertapati Bermisi Perdamaian dan Toleransi“. Resital: Jurnal Seni Pertunjukan 20, Nr. 1 (10.04.2019): 13–23. http://dx.doi.org/10.24821/resital.v20i1.3459.
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Tujuan penulisan ini untuk mendeskripsikan musik iringan drama tari berjudul “Pengembaraan Panji Inukertapati Bermisi Perdamaian dan Toleransi.” Drama tari tersebut mengisahkan perjalanan Panji Inukertapati menjelajahi beberapa wilayah Nusantara mencari kekasihnya, Dewi Sekartaji. Pembahasan fokus terhadap dinamika pertunjukan, alasan pemilihan bunyi atau lagu, dan hubungan musik dengan gerak tari. Metode interview, observasi, studi literatur, dan studi dokumen digunakanuntuk pengumpulan datanya. Hasil kesimpulan diketahui bahwa musik iringan drama tari tersebut terdiri atas bunyi Dijerido, bunyi aplikasi program DJ (monster dan drum), dan musik-musik daerah (musik Jawa, musik Melayu, musik Papua, dan musik Bali). Musik-musik tersebut dirangkai dalam struktur dramatik kerucut tunggal, digunakan untuk menciptakan atmofir musikal pertunjukan, dan sebagai pedoman penari memeragakan gerak-gerak tari. Hubungannya dengan gerak tari terbagi ke dalam tiga jenis, yaitu hubungan antara pola melodi dengan pola gerak, hubungan antar frase melodi dengan frase gerak, dan hubungan antar karakter melodi dengan karakter gerak.Accompaniment Music for The Journey of Panji Inukertapati Dance Drama for the Peace and Tolerance Mission. The writing article aimed to describing the accompany music for drama dance entitle Panji Inerktupati Journey in peace and tolerance mission. The performance described Inukertapati the journey and passed some regions in archipelago to looking for his lover, Dewi Sekartaji. The disccusion focus on dinamic performance structure, choosing sound and song reason, and its relationship to the movement. The result is the music consisted of Dijeridu instrument sound combined to electrical sounds and some Indonesian folksong (Javanese music, Malay, Papua, and Balinese music). The musics are arranged in single cone dinamic structure, are used to create performance musical atmosphere and as guidance dancers demonstrate movement; hovewer its relationship to movement are classified in three types: relationship of movement pattern with musical sound pattern; music phrase with movement phrase, and song character with movement character.Keywords: Panji journey; drama dance; musical identity
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Sukmawati, Dian, Hermanto Tri Juwono und Widjiati Widjiati. „Mozart Memberikan Hasil Indeks Apoptosis Lebih Rendah daripada Musik Pop, Religi dan Tanpa Pemberian Musik“. Jurnal Penelitian Kesehatan "SUARA FORIKES" (Journal of Health Research "Forikes Voice") 11, Nr. 1 (11.11.2019): 28. http://dx.doi.org/10.33846/sf11106.
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Background: Brain growth requires genetic potential for a conducive environment, low stress levels, stimulation and nutrition. Brain development during the fetal period in the two years of life firstly requires proper stimulation to increase intelligence. Classical music stimulation has been proven to be able to optimally improve brain function and human intellect. Other music that Indonesian people like is pop and religion. Maybe it is possible to pop and religious music can affect the development and growth of the fetal brain. Objective: Analyze the differences of the index of apoptosis Cerebrum and Cerebellum Rattus norvegicus newborn between those stimulated by Mozart, pop, religious music and not stimulated by music during pregnancy. Method: This study was post test only control group design. groups were randomly divided according to the treatment as stimulation of Mozart, pop, religious music and no music was given from the 10th day-gestation with an intensity of 65 dB in a soundproof box for one hour. When 19th day-gestation, Rattus norvegicus mothers were sacrificed then 3 Rattus norvegicus newborn from each mothers were selected and brain was taken to be made immunohistochemical preparations and counted the number of neuron cells apoptosis index. data were analyzed by comparison test with p <0.05. Results: There was a significant difference in the cerebrum neuron apoptosis index newborn between groups p = 0.001 but there was no difference between without exposure and pop music groups p = 0.063 (the lowest mean was the mozart group 2.40 IRS) and there was also difference in the apoptosis index in the cerebellum p = 0,000 but there was no difference between pop music and without exposure group p = 0.151 (the lowest mean was the mozart group 2.34 IRS) Conclusion: Mozart gives a lower apoptotic index than pop music, religion and without exposure music group.
Keywords: neuron apoptosis index; mozart mucic; pop music; religion music
ABSTRAK
Latar Belakang: Tumbuh kembang otak membutuhkan potensi genetik lingkungan yang kondusif, tingkat stres yang rendah, stimulasi dan nutrisi. Perkembangan otak selama periode janin dan dua tahun pertama kehidupan memerlukan stimulasi yang tepat untuk meningkatkan kecerdasan. Stimulasi musik klasik terbukti dapat meningkatkan fungsi otak dan intelektual manusia secara optimal. Musik lain yang suka didengarkan oleh masyarakat Indonesia adalah pop dan religi. Kemungkinan musik pop dan religi juga dapat mempengaruhi perkembangan dan pertumbuhan otak janin. Tujuan: Menganalisis perbedaan indeks apoptosis Cerebrum dan Cerebellum Rattus norvegicus baru lahir antara yang di stimulasi musik Mozart, pop, religi dan tidak di stimulasi musik selama kebuntingan. Metode: Penelitian ini adalah post test only control grup design. kelompok dibagi secara acak disesuaikan dengan perlakuan yaitu pemberian musik Mozart, pop, religi dan tidak diberikan musik sejak hari ke-10 kebuntingan dengan intensitas 65 dB dalam kotak kedap suara selama satu jam. Kehamilan hari ke 19 tikus bunting dikorbankan, anak tikus dipilih 3 ekor tiapinduk diambil otaknya, dibuat sediaan imunohistokimia dan dihitung jumlah sel neuron yang mengalami apoptosis. Hasil dianalisis uji perbandingan dengan komparasi p<0,05. Hasil: Terdapat perbedaan bermakna indeks apoptosis cerebrum Rattus norvegicus baru lahir antar kelompok p=0,001 namun tidak ada perbedaan kelompok tanpa paparan dengan musik pop p=0,063 (mean terendah adalah kelompok mozart 2,40 IRS) dan terdapat perbedaan indeks apoptosis di cerebellum dengan nilai p=0,000 namun tidak ada perbedaan kelompok tanpa paparan dengan musik pop p=0,151 (mean terendah adalah kelompok mozart 2,34 IRS) Kesimpulan : Mozart memberikan hasil indeks apoptosis lebih rendah dari musik pop, religi dan tanpa pemberian musik.
Kata kunci: Indeks apoptosis; musikmozart; musik pop; musik religi
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Sukmana, Dicky Indra, Robby Hidajat und Tutut Pristiati. „Musisi Progressive Metal sebagai Pendorong Perkembangan Musik Djent di Kota Malang“. JoLLA: Journal of Language, Literature, and Arts 2, Nr. 5 (24.05.2022): 746–64. http://dx.doi.org/10.17977/um064v2i52022p746-764.
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Abstract: Djent music is music which has elements of groove and progressive metal. The creation of djent music is an innovative idea from previous metal music which in its development djent music can’t be separated from the influence of rock music, which is phenomenal in the world. This study aims to describe the development of djent music and the factors influence the development of djent music in Malang. The writing of this research was carried out using descriptive qualitative methods. Using data analysis in the form of interviews with sources. The resource persons in this study were Norman Duarte Tolle (35) as a djent music musician (C-four) in Malang, Aulia Rizky Fajar (24) as a djent music guitarist in Malang, Reynal Juliandi (27) as an observer and music guitarist djent music in Pasuruan, Fauzan Sanjaya (24) as a member of the loud music community (Undisputed), and Fajri Ramadahan (27) as a musician djent music (Ceara) in Jakarta. Observations are aimed at knowing the development of djent music in Malang based on a review of the C-four music group. The result of this research is that the existence of djent music can be seen through the music industry and internet media which play an important role in the development of djent music so that the genre is able to spread widely throughout the world, including in Indonesia and Malang especially. Keywords: development; djent music; musicians; Malang Abstrak: Musik djent merupakan musik yang memiliki unsur groove dan progressive metal. Terciptanya musik djent merupakan gagasan inovasi dari musik metal sebelumnya yang dimana dalam perkembangannya musik djent tidak terlepas dari pengaruh musik rock yang sangat fenomenal di dunia. Penelitian ini bertujuan untuk mendeskripsikan perkembangan musik djent dan faktor yang mempengaruhi perkembangan musik djent di Kota Malang. Penulisan penelitian ini dilakukan dengan menggunakan metode kualitatif yang bersifat deskriptif dengan analisis data berupa hasil wawancara dengan narasumber. Narasumber dalam penelitian ini ada Norman Duarte Tolle (35) sebagai musisi musik djent (C-Four) yang ada di Kota Malang, Aulia Rizky Fajar (24) sebagai gitaris musik djent di Kota Malang, Reynal Juliandi (27) sebagai pemerhati serta gitaris musik djent di pasuruan, Fauzan Sanjaya (24) Selaku anggota komunitas musik keras (Undisputed), dan Fajri Ramadhan (27) sebagai musisi musik djent (Ceara) di Jakarta. Observasi ditujukan untuk mengetahui perkembangan musik djent di Kota Malang berdasarkan tinjauan kelompok musik C-four. Hasil dari penelitian ini ialah bahwa eksistensi musik djent dapat dilihat melalui industri musik dan media internet yang sangat berperan penting bagi perkembangan musik djent sehingga genre tersebut mampu menyebar luas ke seluruh dunia, termasuk di Indonesia dan di Kota Malang. Kata kunci: perkembangan; musik djent; musisi; Malang
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Mohammad Yusrirrizqi und Wiki Angga Wiksana. „Fotografi Musik dalam Perkembangan Musik Band Burgerkill“. Bandung Conference Series: Communication Management 4, Nr. 2 (14.08.2024): 707–12. http://dx.doi.org/10.29313/bcscm.v4i2.14471.
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Abstract. Music photography is a branch of photography that is quite popular with many people. Photos that focus on capturing moments in the world of music. Along with the development of the music industry and the high popularity of music, music photography has become an important element in documentation and promotion. The development of music photography seems to always be side by side with the development of music. Especially in the development of music in the city of Bandung. This research aims to determine music photography in the development of the Burgerkill band's music. In this research, researchers used qualitative methods with a case study approach. Then the paradigm used is the constructivism paradigm. Researchers sought in-depth information through interviews addressed to the Burgerkill band photographer, one of the Burgerkill band members, and fans of the Burgerkill band's music. Photography is one part of the axis of development of the band Burgerkill's music, but basically it is not music that changes the music ecosystem, because if we talk about the ecosystem too broadly, perhaps the most appropriate thing is that music encourages photography in creating its own ecosystem, creating classes of expertise specifically in the realm of photography. Abstrak. Fotografi musik menjadi salah satu cabang fotografi yang cukup diminati oleh banyak orang. Foto yang berfokus dalam pengabadian momen di dunia permusikan. Seiring dengan perkembangan industri musik dan popularitas musik yang tinggi, fotografi musik telah menjadi suatu elemen penting dalam perdokumentasian hingga promosi. Perkembangan fotografi musik sepertinya akan selalu berdampingan dengan perkembangan musik. Terkhusus dalam perkembangan musik di kota Bandung. Penelitian ini bertujuan untuk mengetahui fotografi musik dalam perkembangan musik band Burgerkill. Dalam penelitian ini peneliti menggunakan metode kualitiaf dengan pendekatan studi kasus. Lalu paradigma yang dipakai adalah paradigma konstruksivisme. Peneliti mencari informasi yang mendalam melalu wawancara yang ditujukan kepada fotografer band Burgerkill, salah satu personil band Burgerkill, dan penikmat musik-musik band Burgerkill. Fotografi menjadi salah satu bagian dalam poros perkembangan musik band Burgerkill, namun pada dasarnya bukan musik yang merubah ekosistem musik, karena jika berbicara tentang ekosistem itu terlalu luas, mungkin yang paling tepat adalah musik mendorong fotografi dalam menciptakan sebuah ekosistemnya sendiri, menciptakan kelas-kelas keahlian tertentu di ranah fotografi.
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Djohan, Djohan, Asep Hidayat Wirayudha und Aghisna Indah Mawarni. „Efek Reinstrumentasi Karya Organ Js. Bach Melalui Alih Timbre Terhadap Selera Musik“. Resital:Jurnal Seni Pertunjukan 24, Nr. 2 (03.08.2023): 136–45. http://dx.doi.org/10.24821/resital.v24i2.9747.
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As today teenagers have less appreciation for instrumental works from Baroque era, the objective of this research is to identify the indicators their music preference through timbre shifting of the musical instrument. In the context of the creative economy, this will open opportunities for art music to compete in the music industry. Music has been studied and observed for centuries, and even today, the works of great composers are associated with timeless creations. One factor that has contributed to the continued existence of music is its strong reliance on conductors during performances, especially when presented in orchestral format involving dozens of supporting musicians. Generally, not only do audiences watch a stage filled with musicians, but they also listen to the works of composers in various timbres. Some musics are performed in the form of solo, duet, or as ensemble. However, the challenge for musicians is that the majority of society do not understand art music well due to lack of knowledge and the prevalence of easily accepted popular music. It occurs because music education still upholds the tradition of classifying music into high and low art according to European concepts. Art music carries musicological elements rooted in mathematical discipline, which implicitly requires audiences to have a background in music knowledge, even during performances. In Indonesia, which is currently developing and strengthening its creative economy, creative breakthroughs are needed to make art music more popular and have a positive impact on musicians. In this study, the author implemented a quantitative method with a one-posttest design approach. The sample consisted of teenagers studying art music. The total sample was N=100, consisting of students in music performance vocational program who were given treatment by listening to a recorded toccata in D minor by JS Bach played on the organ and re-instrumented using the electric guitar, electric bass, and synthesizer. The results reveal that the subjects' preference for rock music is significantly influenced by personal preference with p<0.05. Particularly, the predictor of preference has a coefficient of R 0.900 with an R2 of 0.809, indicating that preference contributes 80.9% to the variability of the preferences. Therefore, it can be concluded that the renewing instrumentaion of Baroque music by shifting timbre of electric instruments with rock sensation has an influence on the musical preference of today youth. It happens especially when the ornamentation, one of the characteristic of Baroque music, is played with forte dynamic and blended technique, resulting in piercing and swinging sounds as an effect of electric guitar distortion.Tujuan penelitian ini untuk mengidentifikasi indikator selera musik remaja masa kini yang kurang menyukai karya instrumental era Barok (musik seni) melalui rekayasa warna suara (timbre) alat musiknya. Karena dalam konteks ekonomi kreatif akan membuka peluang musik seni untuk berkompetisi dalam dunia industri musik. Selama ini musik seni telah berabad lamanya dipelajari dan ditekuni hingga saat ini bahkan karya-karya para komponis besar diasosiasikan dengan karya abadi. Salah satu faktor yang menjadikan eksistensi musik seni hingga sekarang adalah karena dalam pertunjukkannya sangat dipengaruhi oleh konduktor. Terutama sekali jika karya tersebut dipertunjukkan dalam format orkestra yang melibatkan puluhan musisi pendukung. Di satu sisi secara visual selain menyaksikan panggung penuh dengan musisi juga mendengarkan karya para komponis dalam berbagai macam warna suara. Sementara di sisi lain, ada musik seni yang dimainkan secara solo, duet atau kelompok (musik kamar). Pada kenyataannya, tantangan musisi musik seni adalah karena sebagian besar masyarakat tidak paham musik seni baik karena kurangnya pengetahuan dan maraknya musik industri yang jauh lebih mudah dicerna. Hal ini terjadi karena dalam pendidikan musik seni pun masih mempertahankan tradisi seni tinggi sesuai dengan sumbernya di Eropah. Musik seni memiliki muatan musikologi yang berasal dari disiplin matematika sehingga dalam bentuk pertunjukanpun secara implisit mensyaratkan audiens memiliki latar belakang pengetahuan musik. Indonesia yang sedang mengembangkan serta memperkuat ekonomi kreatif maka diperlukan terobosan kreatif agar musik seni dapat semakin digemari sehingga membawa dampak positif bagi musisi musik seni. Penelitian ini menggunakan metode penelitian kuantitatif dengan pendekatan one posttest design only dan sampel dalam penelitian ini adalah remaja yang sedang belajar musik seni. Total sampel sebanyak N=100 terdiri dari mahasiswa program vokasi penyajian musik yang diberi intervensi dengan mendengarkan rekaman toccata in d-minor karya JS Bach untuk alat musik organ dan yang sudah direinstrumentasi menggunakan alat musik gitar, bas elektrik dan synthesizer. Hasilnya menunjukkan bahwa selera subjek terhadap musik rock secara signifikan lebih ditentukan oleh preferensi pribadi dengan p<0.05. Terutama dengan prediktor preferensi yang memiliki koefisien R 0.900 dengan R2 0.809 sehingga preferensi memberi sumbangsih sebanyak 80.9% terhadap variabilitas selera. Maka, dapat disimpulkan bahwa reinstrumentasi musik barok menggunakan warna suara instrumen elektrik dengan sensasi rock memiliki pengaruh terhadap selera musik subjek remaja. Terutama sekali ketika pada bagian ornamentasi sebagai ciri khas musik barok dibunyikan dalam dinamika forte dengan teknik blend sehingga terdengar melengking dan mengayun sebagai efek dari suara distorsi gitar elektrik.
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Nainggolan, Oriana Tio Parahita, und Vill Alvia Martin. „Pembelajaran Musik Kreatif Dalam Sudut Pandang Pembelajaran Abad ke-21“. PROMUSIKA 7, Nr. 2 (30.09.2019): 85–92. http://dx.doi.org/10.24821/promusika.v7i2.3454.
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Creative music learning is one of the challenging subjects of learning music for elementary school students. The main topic of creative music is sound. It is the most important element in learning music. Sound must recognized and heard at the beginning of music lesson. Creative music aims not only to develop students’ listening skills but also to develop the ability to in making innovation in music either creating creative musical composition or musical instruments. The students also will get the advantages from creative music learning processes such as critical thinking, communication, collaboration, and creativity and innovation (4C). In the framework of the 21st century learning, the 4C is the ability that must achieved by the students. Although creative music subject is important in learning music, it has not been widely taught in public schools. This paper will examine how 4C integrated into creative music learning. The data obtained from observations and interviews during the music creative learning process. The results have shown that students integrate 4C in the learning process. Making creative music requires critical thinking finding various possibilities in order to make making innovations in music. Communication skill is also needed to express ideas from critical thoughts. The collaborative ability also used when playing creative music. Critical thinking skills, communication, and collaboration will ultimately result in creativity and innovation in making creative music. Pembelajaran musik kreatif merupakan salah satu pembelajaran yang menarik bagi siswa Sekolah Dasar (SD). Materi utama pembelajaran musik kreatif adalah suara. Suara merupakan materi pertama yang harus dikenali oleh siswa pada pembelajaran musik. Pembelajaran musik kreatif bertujuan tidak saja untuk mengembangkan keterampilan mendengar, tetapi juga mengembangkan kemampuan dalam membuat inovasi mencipta komposisi musik kreratif. Pada saat pembelajaran musik kreatif, siswa juga mendapat keuntungan yaitu melatih kemampuan berpikir kritis, berkomunikasi, berkolaborasi, dan kreativitas serta berinvoasi (4C). Kemampuan 4C merupakan kemampuan yang harus dicapai oleh seluruh peserta didik dalam pembelajaran abad 21. Artikel ini bertujuan untuk mendeksripsikan kemampuan 4C pada pembelajaran musik kreatif. Data penelitian diperoleh dari observasi, wawancara, dan dokuemntasi selama proses pembelajaran musik kreatif. Hasil penelitian menunjukkan bahwa kemampuan 4C terintegrasi secara langsung pada pembelajaran musik kreatif. Kemampuan 4C dibutuhkan siswa pada saat membuat komposisi musik kreatif. Pada saat membuat komposisi musik kreatif, berpikir kritis dibutuhkan untuk menemukan berbagai macam kemungkinan suara untuk disusun dalam komposisi musik kreatif. Kemampuan berkomunikasi digunakan untuk dapat mengkomunikasikan ide-ide untuk membuat komposisi musik kreatif. Kemampuan berkolaborasi digunakan untuk dapat memainkan komposisi musik kreatif. Kreativitas merupakan hasil dari kemampuan berpikir kritis, berkomunikasi dan berkolaboasi sehingga dapat membuat dan memainkan komposisi musik kreatif.
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Almanda, Hafi Hilmiah, Setya Yuwana und Setyo Yanuartuti. „Kajian pertunjukan musik “Thungka” dalam masyarakat Bawean Gresik (Tinjauan etnomusikologi)“. Imaji 21, Nr. 1 (24.04.2023): 30–37. http://dx.doi.org/10.21831/imaji.v21i1.49233.
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Penelitian ini menemukan kajian etnomusikologi pada alat musik thungka, karena peneliti ingin mengetahui segala sesuatu yang terdapat dalam alat musik thangka, baik itu berupa aspek fungsi, musikal, instrumental dan sosial budaya musik tradisional thungka. Dalam penelitian ini metode yang digunakan yaitu metode kualitatif. Fungsi musik Thungka pada dasarnya sebagai alat untuk penumbuk padi dalam acara musim panen disetiap tahun akan tetapi sekarang menjadi sebagai media pertunjukan seni tradisional, acara pernikahan sampai keacara penyambutan tamu turis ke Bawean. Alat musik Thungka ini merupakan alat musik tradisional yang tergolong bertangga nada tetratonik yaitu memiliki empat tangganada. Thungka, bahan dasarnya dari ronjengan sampai Alu’ terdiri dari kayu berjenis Jati. Lirik yang dimainkan dalam pertunjukan Thungka memaparkan tentang kehidupan masyarakat Bawean. Kata kunci: Etnomusikolgi, Musik Thungka, Bawean Study of "Thungka" music performance in Bawean Gresik community(An ethnomusicology review) AbstractThis study found an ethnomusicological study on the thungka musical instrument, because the researcher wanted to know everything contained in the thangka musical instrument, whether it was in the form of functional, musical, instrumental and socio-cultural aspects of thungka traditional music. In this study the method used is a qualitative method. The function of Thungka music is basically as a tool for pounding rice in the harvest season every year but now it has become a medium for traditional art performances, weddings to welcoming tourist guests to Bawean. This Thungka musical instrument is a traditional musical instrument that is classified as a tetratonic scale, which has four scales. Thungka, the basic ingredients from ronjengan to pestle are teak wood. The lyrics played in the Thungka show describe the life of the Bawean people.Keywords: Ethnomusicology, Thungka Music, Bawean
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Jamnongsarn, Surasak. „TRANSKULTURASI MUSIK ANTARAGAMELAN JAWA, ANGKLUNG, DAN MUSIK TRADISI THAILAND“. MELAYU ARTS AND PERFORMANCE JOURNAL 2, Nr. 2 (20.01.2020): 158. http://dx.doi.org/10.26887/mapj.v2i2.975.
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Javanese gamelan and angklung to Thailand music gives the impact on the development of Thailand traditional music. That musical transculturation exists in the musical instrument of angklung and the musical concept of Javanese gamelan that are then mixed with the system of Thailand traditional music involving gamut (tuning system), presentment method, and its function in society. This transculturation shows the understanding of cultural relation between Thailand traditional music that has the background of Buddhism philosophy and Gamelan that has the background of Kejawen syncretism. These two kinds of music have formed the new characteristic and identity of Thailand music. Angklung played with the concept of Javanese gamelan called as angklung Thailand that then becomes Thailand traditional music. The article aims at revealing the transculturation of Javanese gamelan and angklung into the traditional music and its impact on the development of Thailand traditional music. This research used qualitative method with the accentuation in field research that involved researcher with the material object to delve various musical experiences by participating as the player of those two musical instruments. The transculturation of Javanese gamelan and angklung with Thailand traditional music has given the new development in Thailand traditional music. Keywords: Transculturation, Javanese gamelan, angklung, and Thailand traditional music ABSTRAKTranskulturasi gamelan Jawa dan angklung ke Thailand memberikan dampak pada perkembangan musik tradisi Thailand. Transkulturasi musik itu berwujud pada alat musik angklung dan konsep musikal gamelan Jawa, kemudian bercampur dengan sistem musik tradisi Thailand, yang mencakup pada tangga nada (tuning system), carapenyajian, dan fungsinya dalam masyarakat. Transkulturasi inimemunculkan pemahaman relasi kebudayaan antara musik tradisi Thailand yang berlatar belakang filosofi Buddhisme dan gamelan yang berlatar belakang sinkretis kejawen. Kedua musik ini telahmembentuk ciri dan identitas baru musik Thailand.Angklung yang dimainkan dengan konsep gamelan Jawa yang disebut angklung Thailand selanjutnya menjadi musik tradisi Thailand. Artikel bertujuan mengungkap transkulturasi gamelan Jawa dan angklung ke musik tradisi serta dampaknya pada perkembangan musik tradisi Thailand. Penelitian ini menggunakan metode kualitatif dengan penekanan pada penelitian lapangan yang melibatkan peneliti dengan objek materialuntuk menggali berbagai pengalaman musikal dengan ikut serta bermain kedua musik itu. Transkulturasi gamelan Jawa dan angklung dengan music tradisi Thailand telah memberikan perkembangan baru pada musik tradisi Thailand. Kata kunci: transkulturasi, gamelan Jawa, angklung, dan musik tradisi Thailand
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Janawati, Janawati, und Kornelius Gulo. „MUSIK DAN PERANANNYA DALAM IBADAH“. Inculco Journal of Christian Education 2, Nr. 3 (19.09.2022): 268–80. http://dx.doi.org/10.59404/ijce.v2i3.109.
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Abstrak: Artikel ini adalah suatu pengangkatan judul yang dilatar belakangi oleh, keinginan seorang Penulis untuk mengetahui apa yang menjadi peran musik, yang digunakan dalam setiap Ibadah Kristen, serta bagaimana supaya musik yang dimainkan oleh seorang musisi, boleh menjadi musik yang berjalan tidak sebagai simbol saja, tetapi ada fungsi dan tujuan dari musik yang dimainkan. Berbicara tentang musik dan peranannya dalam ibadah bukanlah sesuatu hal yang asing lagi, sebab banyak gereja yang sudah menggunakan musik dalam melaksanakan ibadah, baik itu dari aliran Injili, Protestan, Karismatik atau Pantekosta. Artikel ini bertujuan menjawab 1. Apa peranan musik gereja dalam ibadah? 2. Bagaimana musik yang berkenan bagi Tuhan? 3. Apa itu Musik Gereja dan bagaimana Liturgi Nyayian Jemaat dalam Ibadah? Dengan hasil: 1. Peranan musik menjadi sebuah pertempuran krisis, kuasa penyembahan, memulihkan pelayanan. 2. Musik yang berkenan kepada Tuhan adalah musik yang penuh dengan ketaatan, yang berisi ucapan syukur. 3. Musik gereja yang karena isinya serta dengan pernyataan Iman penciptanya atau orang yang menampilkan karya tersebut, dalam liturgi ibadah meliputi berarti perayaan iman, termasuk dalam liturgi adalah tata ruang, tata Ibadah, tata waktu, simbol-simbol, pembacaan Alkitab, musik gereja dan sebagainya. Abstract: This article is an appointment of a title based on the desire of an author to know what is the role of music, which is used in every Christian worship, and how the music played by a musician may become music that operates not only as a symbol , but there is a function and purpose of the music being played. Talking about music and its role in worship is not something new, because many churches already use music in carrying out their services, whether they are from Evangelical, Protestant, Charismatic or Pentecostal. This article aims to answer 1. What is the role of church music in worship? 2. How is music pleasing to God? 3. What is Church Music and how is the Liturgy of Congregational Singing in Worship? With the results: 1. The role of music becomes a crisis battle, the power of worship, restoring ministry. 2. Music that pleases God is music that is full of obedience, which contains thanksgiving. 3. Church music which, because of its content and the statement of faith by the creator or the person performing the work, in the liturgy of worship includes the meaning of the celebration of faith, including in the liturgy are spatial planning, worship arrangements, timing, symbols, Bible readings, church music and etc.
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Bintarto, A. Gathut. „Aspek Olah Vokal Musik Klasik Barat pada Musik Populer“. Journal of Urban Society's Arts 1, Nr. 1 (10.04.2014): 44–56. http://dx.doi.org/10.24821/jousa.v1i1.787.
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Setiap medium musik mempunyai keistimewaan yang bisa dikaji seperti halnyapada musik klasik Barat dan musik populer. Norma daya tarik musik populeryang ringan dan mudah dinikmati tidak seperti pada musik klasik Barat atauyang sering disebut sebagai musik seni, namun demikian bukan berarti bahwamemainkannya tidak ada syarat artistik. Bervariasinya musik dan banyaknya pelakumusik mengakibatkan standar yang tinggi dan menuntut pemahaman terhadapdetail musik. Musik populer bertolak dari kebiasaan orang dan musisinya inginmemenuhi kebutuhan tersebut. Gambaran emosional yang muncul pada teksmenyebabkan kecenderungan naturalistik dalam bernyanyi. Melalui penelusuranasal-usul musik populer dan penelitian studi kasus di lapangan ditemukan bahwamusik populer beraliran soul serta R&B (rhythm and blues) mempunyai kesamaanunsur dengan teknik dan gaya bernyanyi klasik pada penerapan suara yang ratadalam rentang ambitus (even scale technique), penggunaan imajinasi dengan iramabebas, nada-nada hiasan, teknik vibrato, dan bahkan gaya bernyanyi Gregorianmurni dengan iringan ritmis yang dianggap sebagai suatu kebaruan dalam musikpopuler. The Overview on the Aspect of Western Classical Singing on Popular Music.Every music medium such as Western classical and popular music has its own practicalspecification due to the observation of each characteristic and uniqueness. The potentialattractiveness of popular music is different from the Western classical music in its easylistening characteristics, but it does not mean that the music does not have the artisticcharacter at all. More performers and more variations in the popular music mayaffect the higher standard and require the demand in every aspect of the details. Thepopular music is derived from the daily habit and that is the way the musician shoulddo to make this kind of music. The emotional characteristics in their lyrics cause thenaturalistic singing tendency. Through the observation of the popular music origin andthe field research study, it is founded that soul and R&B music have the similarities. Interms of the classical music, both use the typical scale technique, imagination with thefree rhythm, ornamentation, vibrato technique and even pure Gregorian singing styleused in some popular songs accompanied by rhythmical music served as a new idea inpopular music.
Dissertationen zum Thema "Music"
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Forde, Eamonn. „Music journalists, music press officers and the consumer music press in the UK“. Thesis, University of Westminster, 2001. https://westminsterresearch.westminster.ac.uk/item/94116/music-journalists-music-press-officers-and-the-consumer-music-press-in-the-uk.
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This thesis presents a professional/organisational analysis of popular music journalism in the UK. It considers the conditions under which consumer music magazines are produced (at the level of both the newsroom and the publishing organisation) and how music journalists deal with their main point of informational contact, the press officer. Drawing on original interview and participant observation research, the thesis considers: the economic and bureaucratic forces within magazine publishing organisations; how titles are positioned both individually and collectively as part of portfolio of niched titles; how market forces condition how and why titles are launched, redesigned and folded; and, ultimately, how all these factors impact upon and shape the socio-professional and cultural conditions under which editors and their staff work. The thesis then considers the music press officer (both in-house and independent and their office/departmental hierarchies) in terms of how they exist and operate at the meeting point of three distinct groups: the artists they are employed to represent; the artists' record companies; and the press (and their attempts to reconcile these often divergent needs). Having considered the music press and music journalists in isolation (in terms of power structures as well as their collective and individual goals) and press officers in isolation (in terms of their position within wider music industry promotional strategies and how they build, develop and revise a roster of artists) the thesis then moves on to analyse how these two distinct professional groups (journalists/editors and press officers) work together, how they professionally and organisationally define their goals and objectives and the steps they take to meet these goals and objectives, negotiating quantitatively and qualitatively the coverage of artists. A complex relationship of conditional power and mutual dependency links these two sets of professionals in both their formal activities and their socio-cultural activities. Breaking from previous studies that have described a uni-directional flow of power and influence of press officers over the press, the thesis argues that the relationships that tie these groups together (in terms of gatekeeping within the hierarchy of the newsroom and a tilting balance of power) are much more complex that has previously been assumed.
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Coker, Tim. „Dramma per musica : towards a new music theatre“. Thesis, University of Reading, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487105.
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This thesis comprises a portfolio of thirteen original musical compositions supported by a 30,000 word critical commentary along with videos and sound recordings of a number of the works on CD and DVD. The two operatic works are both set to o~gin<.!-l libretti which are included as appendices. I As the title of the thesis suggests, all of the musical works submitted are linked by a common dramatic voice. The written commentary analyses the processes and influences on those works, with particular emphasis on the theatrical. The focal point of the submission is a large-scale operatic work scored for full symphonic forces and three tenors called Piano Mall. The commentary considers the process of creating this piece and the other works ;in the portfolio are considered within the context of its production. The other works are scored for a variety of forces - from choral works to works for mixed instrumental ensembles. The chapters of the commentary build to create a complete picture of my working methodology and places my work in the context of current music theatre trends. The first forms an introduction to this thesis and sets my work within a wider contemporary context. It also outlines my approach to Shakespeare in adaptation before taking a critical look at modem music theatre and suggesting ways in which my work attempts to take the art form forwards. Chapter Two considers musical and theatrical references in my work and Chapter Three focuses in particular on the influence of Brecht's Epic Theatre. A summary of practical workshops with students from Bradfield College in Reading and Chigwell School in Essex forms the basis of Chapter Four which considers the role of the audience in modem music theatre. And finally, Chapter Five is a detailed analysis of the creation of Piallo Man.
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Heinrich, Lisa M. „MULTICULTURAL MUSIC EDUCATION: SECOND-GRADE STUDENTS’ RESPONSES TO UNFAMILIAR MUSICS“. Cleveland, Ohio : Cleveland State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1260496852.
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Thesis (M.M.)--Cleveland State University, 2009.Abstract. Title from PDF t.p. (viewed on Dec. 15, 2009). Includes bibliographical references (p. 52-55). Available online via the OhioLINK ETD Center and also available in print.
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Johnson, Sherry Anne. „High-school music teachers' meanings of teaching world musics“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22326.pdf.
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Nathan, Micaela. „Being in music: music performance dysfunction through guided imagery and music“. Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11642.
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Music performance dysfunction in professionally trained elite musicians is a broad, pervasive, yet oft times narrow and temporary phenomenon, situated in a culture rarely understood by those outside the field of professional music. This project explored the meaning of music performance dysfunction in professional musicians by addressing how musicians understand themselves in the field of music and through their relationship to music. The nature of inquiry for this project used an overarching ethnographic and sociological paradigm upon which was set a conceptual framework encouraged by the work of French sociologist Pierre Bourdieu. The project was organised around three domains of the musician's lived experience: the subjective world of the professional musician; negative affect, anxiety, and dysfunction in the musician arising through the context of music performance; and the emotions, memories, and insights that emerge through Guided Imagery and Music. Music is the dimensional phenomenon that binds all domains. The three domains were investigated through two distinct studies that elicited a rich tapestry of findings and illuminated a colourful world, unique to the field. The first study addressed a few salient features of being a modern professional musician. Fifteen musicians were interviewed about what it is to be a musician, what it is to perform, what is music to the musician, what is the musician’s relationship to music, and the issue of music performance anxiety. Phenomenological analysis revealed themed issues surrounding a tacit understanding and acceptance by the musicians of the enormous highs and devastating lows in their chosen career. Acute music performance anxiety was understood as a continuum within a larger of the occupational field and personal life, a musician’s position along which is dependent upon an individual’s propensity to embody the many influences within the social domains of a complex occupational field. The second study was built upon the first study. The issue of music performance dysfunction in three professional musicians was individually explored using the music therapy method of Modified Guided Imagery and Music (MGIM) in a multiple case study design. This study explored each musician’s unique experiences of performance dysfunction in a ten week program of themed MGIM sessions. Each session comprised specifically programmed music that supported the topic at hand. Through hermeneutic and phenomenological analysis, the music based exploration brought to light the unique foundational issues of each musician’s performance dysfunction and gave each an opportunity to renew their relationship with music The findings from each study revealed a distinct composite essence. Furthermore, a reflective overview combining findings from both studies showed emotion as a substance of exchange in performance. The quality and meaning of musicians’ experience were found to prevail within a social milieu, and were determined and dependent on the emotional foundation of an individual's dispositional tendencies that develop through embodied experience. Through the qualitative and sociological frame employed in this project, the musicians’ experience of music performance dysfunction was shown to be a complex and enduring concern that has deleterious effects on career and personal life.
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Gander, Jonathan. „Performing music production : creating music product“. Thesis, King's College London (University of London), 2011. https://kclpure.kcl.ac.uk/portal/en/theses/performing-music-production(9d443c79-db0d-4c34-9f7d-de4f4bc5fb14).html.
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The purpose of this thesis is to investigate a particular form of cultural production; the creation of musical product, the pop song. Previous accounts have been dominated by casting the process as one of transmission in which the music of the artists is captured in a recording and the resulting object is released into the market. I argue that this portrayal of cultural production as a pipeline directs attention towards activities at either end: the recruitment of talented artists and the distribution and promotional efforts of the record companies. What happens in the ‘pipe’, how the product is created, is concealed, explained away by reference to stylised notions of technological and economic forces and the operation of unknowable creative talent. To open up this ‘black box’, an approach not previously applied to popular music production is used, actor-network theory. This thesis traces the formation and performance of moments in the production of musical product: songwriting, recording, mixing, mastering and live performance. Tracing the production of music is carried out through analysis of interviews conducted with the protagonists, the producers, engineers, studio managers and artists, and is supported by observation of studio sessions. The principal argument that I develop in the thesis is that musical product is not a discrete ‘thing’ to be diffused, but a networked entity indissociable from the roles and identities, qualities and practices of others that constitute and perform the production, reproduction and consumption of popular music. Accordingly in this thesis musical product is revealed as an achievement, not an a priori fact, and I examine how its constructed qualities are stabilised and shape the network of production and consumption. Following the construction of these qualities reveals how the various interests of the protagonists are translated through their enrolment in practices and systems of calculation into relational arrangements that perform the power of the producer. The contribution of this research lies not just in making visible what has previously been obscured, but also in the way that it illustrates the value in analysing organised activity as a performative association of relationally constructed roles, objects, and qualities, of, in this case, the musical product, colloquially known as ‘a pop song’.
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Young, Sharon M. „Music teachers' attitudes, classroom environments, and music activities in multicultural music education /“. The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794066543544.
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Thorgersen, Ketil. „Music from the Backyard : Hagström's Music Education“. Doctoral thesis, Luleå tekniska universitet, Institutionen för musik och medier, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-40056.
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Morgan, Louise Anne. „Children's collaborative music composition : communication through music“. Thesis, University of Leicester, 1998. http://hdl.handle.net/2381/31262.
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The present research looks at peer collaboration and creativity, an area largely neglected by previous peer collaboration researchers, where goals are ill-defined and measures ambiguous. In previous (science based) peer collaboration research, the crucial factor promoting group productivity appears to be the 'social instrument of language'. Groups achieving intersubjectivity, or mutual understanding, through dialogue out-perform those groups who do not. The returning theme is one of sharing ideas verbally with other group members, arguing through alternatives and providing justifications for accepted and rejected solutions. It was suggested that in collaborative music composition tasks an alternative medium exists for the communication of ideas and for the establishment of a shared understanding of the task, namely communication through the music itself. It was hypothesised that, rather than talking about their ideas, children would be more likely to try them out directly on the musical instruments. It was also predicted that this form of interaction would be significantly related to group productivity.;The present research also considers three key gender issues: firstly, the recurring finding by previous researchers that boys in mixed gender groups take control of the task by dominating verbally and non-verbally over the girls; secondly, suggested differences between the genders in communicative styles; and thirdly, the relative productivity of single gender and mixed gender groups.;Three studies were carried out with children aged 9-10, working in groups of four of varying gender compositions. Each study involved a distinct type of music composition task. Evidence was provided for the occurrence of interaction through music, and its importance for group productivity was found to be dependent on the nature of the task. Important gender differences were observed, including female domination in mixed gender groups. The implications of these findings are discussed in relation to previous peer collaboration research and classroom practice.
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Fernandez, Carlos. „American music / Cuban music: influences and connections“. FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/3231.
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This thesis will demonstrate the effects of American music, specifically jazz, on the different styles of Cuban music. It will be presented chronologically, explaining decade by decade, how American music penetrated the Cuban culture in almost all musical genres.
Bücher zum Thema "Music"
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Bacon, Frances a. Music, music, music! Barrington, IL: Rigby, 2004.
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Heutling, Johanna. W̲rterbuch musik: Dictionary of music. Wiesbaden: Breitkopf & Haertel, 2013.
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Giuliodori, Lucio. Musica dentro: The inner music. Foggia: Bastogi, 2011.
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Coburn, Paul. Music, music, music!!: 60 years of broadcasting. Salt Lake City, Utah: P.H. Coburn, 1998.
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Aristóteles. [Peri mousikēs] =: De musica = On music. [East Northport, N.Y.?]: Sunrise Press, 1990.
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Esser, Torsten. Music-and-sound.de: Musik im Internet. Köln: PapyRossa, 2000.
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Wolfgang, Thormeyer, Groth Cordula 1948-, Berliner Philharmoniker und DaimlerChrysler, Hrsg. Musik für Europa =: Music for Europe. Berlin: Be.bra, 2000.
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Fähndrich, Walter. Musik für Räume=: Music for spaces. Ostfildern-Ruit: Cantz Verlag, 1999.
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Georges, Aperghis, Hrsg. Theater und Musik =: Theatre and music. Brussel: Kaaitheater, 1995.
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Malone, Bill C. Southern music/American music. Lexington, KY: University Press of Kentucky, 2002.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Music"
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Webster, Gwendolen. „Music Without Music“. In The Routledge Companion to Music and Modern Literature, 245–62. London: Routledge, 2022. http://dx.doi.org/10.4324/9780367237288-24.
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Chanan, Michael. „Music, Documentary, Music Documentary“. In The Documentary Film Book, 337–44. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_38.
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Spangenberg, Johanna. „Setting Music to Music“. In The Routledge Companion to Music and Modern Literature, 233–44. London: Routledge, 2022. http://dx.doi.org/10.4324/9780367237288-23.
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Kramer, Jonathan, und Alison Arnold. „Music 200 “Understanding Music”“. In Teaching and Learning Through Inquiry, 41–50. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003447351-6.
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Ferrara, Lawrence, und Elizabeth A. Behnke. „Music“. In Contributions to Phenomenology, 467–73. Dordrecht: Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-017-5344-9_105.
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Sheridan, Carmel. „Music“. In Failure-Free Activities for the Alzheimer’s Patient, 16–21. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-12441-1_2.
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Kieswetter, Vivia Kay. „Music“. In Encyclopedia of Critical Psychology, 1209–11. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4614-5583-7_194.
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Delsing, Marc J. M. H., und Tom F. M. ter Bogt. „Music“. In Encyclopedia of Adolescence, 1819–26. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-1695-2_182.
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Steck, Andreas, und Barbara Steck. „Music“. In Brain and Mind, 113–17. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-21287-6_9.
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Wilson, Kevin. „Music“. In Using Kindle Fire HD, 37–39. Berkeley, CA: Apress, 2014. http://dx.doi.org/10.1007/978-1-4842-0580-8_9.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Music"
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Botticelli, Cosimo, Roberto De Prisco, Nicola Lettieri, Luigi Lomasto, Delfina Malandrino und Rocco Zaccagnino. „Visual Music Perception for Stochastic Music Composition“. In 2024 28th International Conference Information Visualisation (IV), 308–13. IEEE, 2024. http://dx.doi.org/10.1109/iv64223.2024.00060.
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Oliveira, Gabriel P., Gabriel R. G. Barbosa, Bruna C. Melo, Mariana O. Silva, Danilo B. Seufitelli und Mirella M. Moro. „MUHSIC: An Open Dataset with Temporal Musical Success Information“. In Dataset Showcase Workshop. Sociedade Brasileira de Computação, 2021. http://dx.doi.org/10.5753/dsw.2021.17415.
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Music is an alive industry with an increasing volume of complex data that creates new challenges and opportunities for extracting knowledge, benefiting not only the different music segments but also the Music Information Retrieval (MIR) community. In this paper, we present MUHSIC, a novel dataset with enhanced information on musical success. We focus on artists and genres by combining chart-related data with acoustic metadata to describe the temporal evolution of musical careers. The enriched and curated data allow building success-based time series to investigate high-impact periods (hot streaks) in such careers, transforming complex data into knowledge. Overall, MUHSIC is a relevant tool in music-related tasks due to its easy use and replicability.
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Sedláček, Marek. „K aktuálním otázkám hudební výchovy v kontextu historie konferencí Musica viva in schola“. In Musica viva in schola. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0028-2021-1.
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The conference paper presents the history of the music pedagogical conference Musica viva in schola and takes stock of almost 60 years of its existence. It focuses on some current issues of music education in connection with the issues indicated in the conference papers.
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Tiggemann, Anke, Marco Hemmerling und David Lemberski. „Camera Musica: Compositions in music and space“. In eCAADe 2011 : Respecting Fragile Places. eCAADe, 2011. http://dx.doi.org/10.52842/conf.ecaade.2011.374.
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Bach, Peter Christopher, Natalia Vyrva und Susanne Koch Stigberg. „Tangible music player: Music collaboration“. In 2015 International Conference on Collaboration Technologies and Systems (CTS). IEEE, 2015. http://dx.doi.org/10.1109/cts.2015.7210455.
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Tóth-Bakos, Anita. „MUSIC EDUCATION AND MUSIC THERAPY“. In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/inted.2016.0135.
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Rossi Rognoni, Gabriele, Marie Martens, Arnold Myers und Jen Schnitker. „CIMCIM Call for Papers ‘Global Crises and Music Museums: Representing Music after the Pandemic’“. In Global Crises and Music Museums: Representing Music after the Pandemic, herausgegeben von Mimi Waitzman und Esteban Mariño. CIMCIM, 2023. http://dx.doi.org/10.46477/seca7941.
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The COVID-19 pandemic has arguably caused the biggest disruption to the museum and heritage sector since the Second World War. All over the world, museums have had to close, some never to reopen, and many have had to suspend their operations for prolonged periods. However, the disruption has also invited – sometimes forced – substantial changes in the way museums perceive themselves and their interactions with their audiences. This has included an increased focus on digital offers, a reconsideration of the human relationships with external as well as internal stakeholders, new ways to guarantee the preservation, documentation and availability of collections and revised financial and sustainability planning. Some of these changes will be transitory, while others are likely to leave permanent footprints on the identity of museums and the way they operate even after the emergency has passed. This conference will highlight and discuss some of the initiatives and innovations that emerged from the past year, with particular attention to curatorship, conservation, learning and participation, and documentation and research. Critical perspectives, as well as case studies are invited to focus on the long-term impact of the pandemic and on the way the identity of music museums, their value and relevance to society and research, and their ways of operating internally and externally may have been transformed. CIMCIM 2021 Conference Organising Committee Gabriele Rossi Rognoni (Royal College of Music, London, UK) Mimi Waitzman (Horniman Museum and Gardens, London, UK) Marie Martens (The Danish Music Museum, Copenhagen, Denmark) Arnold Myers (University of Edinburgh and Royal Conservatoire of Scotland, Glasgow, UK) Jen Schnitker (Metropolitan Museum of Art, New York, USA)
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Riggle, Mark S. „Pleasurable music selects for enhanced music memory, hence music emotions: The evolutionary forces laid bare“. In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0022.
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Schwamstecher, Jorg. „Music“. In ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.254024.
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Rouvoy, Romain, Mikaël Beauvois, Laura Lozano, Jorge Lorenzo und Frank Eliassen. „MUSIC“. In the 1st workshop. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1462689.1462697.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Music"
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Stahl, Geoff, und Alex Gyde, Hrsg. Popular Music Worlds, Popular Music Histories: Conference Proceedings, Liverpool 2009. International Association for the Study of Popular Music, Dezember 2011. http://dx.doi.org/10.5429/2225-0301/2009.
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Maddocks, Sally C. Music and Combat Motivation. Fort Belvoir, VA: Defense Technical Information Center, April 2015. http://dx.doi.org/10.21236/ada635065.
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Johnston, Mindy. Music and Conflict Resolution: Exploring the Utilization of Music in Community Engagement. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.437.
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Moore, Lilly. Rainer Maria Rilkes Musik der Kräfte (Rainer Maria Rilke's Music of the Forces). Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.2267.
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Bassalé, Parfait. Music and Conflict Resolution: Can a Music and Story Centered Workshop Enhance Empathy? Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.1122.
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Kaplan, Gail. Review ofThe Music of Pythagoras. Washington, DC: The MAA Mathematical Sciences Digital Library, März 2010. http://dx.doi.org/10.4169/loci003480.
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Möllenkamp, Andreas. Paradigms of Music Software Development. Staatliches Institut für Musikforschung, Dezember 2014. http://dx.doi.org/10.25366/2022.99.
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On the way to a more comprehensive and integrative historiography of music software, this paper proposes a survey of the main paradigms of music software development from the 1950s to the present. Concentrating on applications for music composition, production and performance, the analysis focusses on the concept and design of the human-computer-interaction as well as the implicit user.
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Delyea, Cole. Plant Growth - Gospel Music - Summary. ResearchHub Technologies, Inc., Oktober 2024. http://dx.doi.org/10.55277/researchhub.7xvdyv3z.
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Keogh, Brendan, Dan Golding und Taylor Hardwick. Australian Music and Games 2023 Benchmark. Queensland University of Technology and Swinburne University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.243139.
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Digital games are a global cultural force, of which music is a foundational aspect. Music is crucial for digital games to develop atmosphere, convey narratives, and frame player interactions. At the same time, digital games provide musicians exciting new opportunities to experiment with dynamic, adaptive, and non-linear music structures. However, writing, producing, licensing, and implementing music for digital games also poses new challenges to existing screen music practices and business models. This benchmark is the first ever investigation into the scope and scale of Australia’s game music sector. It reveals a great diversity of working arrangements, career pathways, and skill sets among game music workers. It exposes entrenched and emerging challenges facing the field that require a rethinking of conventional approaches, and identifies new opportunities for Australian game music to flourish and grow.
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Saldana, Pablo. Boomers, Millennials, and The Music Experience. Portland State University Library, Januar 2016. http://dx.doi.org/10.15760/honors.309.
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