Thematische Bibliographien / Music, 21st century, Australia

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Auswahl der wissenschaftlichen Literatur zum Thema „Music, 21st century, Australia“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 20. Februar 2023

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Zeitschriftenartikel zum Thema "Music, 21st century, Australia"

Joseph, Dawn, und Bradley Merrick. „Australian music teacher’ reflections and concerns during the pandemic: Resetting the use of technologies in 21st century classroom practice“. Teachers' Work 18, Nr. 2 (10.12.2021): 109–26. http://dx.doi.org/10.24135/teacherswork.v18i2.325.

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Classroom practice around the globe has changed considerably due to the global pandemic. Although ICT (information and communication technology) is at the heart of 21st century teaching and learning, many teachers and students had to make significant adjustments shifting from face-to-face to remote (online) delivery in response to lockdowns and government restrictions since March 2020. This paper focuses on one focal question: ‘What were some of the concerns using ICT during Covid-19 pandemic?’ which was part of a wider Australian study ‘Re-imaging the future: music teaching and learning, and ICT in blended environments in Australia’. The authors seek to understand how music teachers look to employ technology in ways that connect teaching frameworks to 21st century classroom practice. As part of the ongoing study, they present preliminary survey data gathered between March–June 2021 from a range of music teachers around the country. Using thematic analysis, they discuss advantages, disadvantages, opportunities, and challenges in relation to responses that thematically relate three key elements: pedagogy, social interaction, and technology. They identify concerns and call on music educators to reset what, how, and why they teach when using technology to develop 21st century competencies, as the future of schooling continues to change its landscape due to the pandemic.

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Temmerman, Nita. „Equipping future arts educators for primary schools of the 21st century: an Australian point of view“. International Journal of Music Education 24, Nr. 3 (Dezember 2006): 271–82. http://dx.doi.org/10.1177/0255761406069663.

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Safitri, Ragil, und Sugirin Sugirin. „Senior high school students’ attitudes towards intercultural insertion into the ELT: Yogyakarta context“. EduLite: Journal of English Education, Literature and Culture 4, Nr. 2 (04.09.2019): 261. http://dx.doi.org/10.30659/e.4.2.261-274.

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Experts in English Language Teaching often consider culture as the fifth skill in foreign language learning as cultural literacy is a must in 21st-century learning. Thus, this study is to investigate students’ interest in the insertion of Big ‘C’ and little ‘c’ themes from different countries into the English classroom. In this study, the researcher distributed a questionnaire to 58 students in a senior high school in Yogyakarta. The study indicated that the respondents’ preferences were mostly about local culture (Yogyakarta and Indonesian culture), followed by target culture (culture of English-speaking countries) and international culture. In accordance with the cultural themes, they showed a relatively higher preference toward Big ‘C’ over the little ‘c’ culture. Concerning Indonesian culture, the students were excited in learning about art/literature, history, and food while for Yogyakarta culture includes history, foods, and lifestyles. Meanwhile, for target culture (Britain, America, and Australia), the students were eager to learn about lifestyles and foods. The last, for international culture, the cultural themes of lifestyles and music/sports were preferred by the students.

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SPRUCE, GARY. „Musicianship in the 21st Century: Issues, Trends and Possibilities edited by Sam Leong. Sydney: Australian Music Centre, 2003. 336 pp, no price given, paperback“. British Journal of Music Education 21, Nr. 3 (November 2004): 347–49. http://dx.doi.org/10.1017/s0265051704215923.

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Powell, Sarah, und Margaret Somerville. „Drumming in excess and chaos: Music, literacy and sustainability in early years learning“. Journal of Early Childhood Literacy 20, Nr. 4 (13.08.2018): 839–61. http://dx.doi.org/10.1177/1468798418792603.

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For children born in the 21st century, the enmeshing of natural and human forces in the survival of the planet requires conceptual and practical innovation. This paper comes from a project funded by the Australian Research Council investigating the integration of literacy and sustainability in early years learning. The methodology employed was ‘deep hanging out’, the purpose of which is to observe without bias or assumption. This paper focuses on a video from a preschool depicting children playing drums and percussion instruments outside, in the playground. We consider the nature of literacy differently, conceptualizing literacy+sustainability within the context of the more-than-human, intra-active world. In our example, the drumming ebbs and flows in intensity, children come and go, rhythms merge then diverge; a chaos of sound and vibration, a refrain of rhythm, movement and bodies, driven by the excess of the earth’s energy and musical force. We see children communicate a sense of the world – with drums, each other, earth – sustained by the vitality of place, the materiality of drums and sound, the energy of earth and the movement of bodies. In this example, we extend the conversation around what literacy and sustainability might look like, offering possibilities for producing new knowledge about literacy and new understandings of sustainability.

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BURKE, PETER. „Introduction“. European Review 14, Nr. 1 (03.01.2006): 99–103. http://dx.doi.org/10.1017/s1062798706000081.

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A preoccupation with hybridity is natural in a period like ours marked by increasingly frequent and intense cultural encounters. Globalization encourages hybridization. However we react to it, the globalizing trend is impossible to miss, from curry and chips – recently voted the favourite dish in Britain – to Thai saunas, Zen Judaism, Nigerian Kung Fu or ‘Bollywood’ films. The process is particularly obvious in the domain of music, in the case of such hybrid forms and genres as jazz, reggae, salsa or, more recently, Afro-Celtic rock. New technology (including, appropriately enough, the ‘mixer’), has obviously facilitated this kind of hybridization.It is no wonder then that a group of theorists of hybridity have made their appearance, themselves often of double or mixed cultural identity. Homi Bhabha for instance, is an Indian who has taught in England and is now in the USA. Stuart Hall, who was born in Jamaica of mixed parentage, has lived most of his life in England and describes himself as ‘a mongrel culturally, the absolute cultural hybrid’. Ien Ang describes herself as ‘an ethnic Chinese, Indonesian-born and European-educated academic who now lives and works in Australia’. The late Edward Said was a Palestinian who grew up in Egypt, taught in the USA and described himself as ‘out of place’ wherever he was located.The work of these and other theorists has attracted growing interest in a number of disciplines, from anthropology to literature, from geography to art history, and from musicology to religious studies. In this issue, the contributions discuss Africa, Japan and the Americas as well as Europe and range from the 16th century to the 21st, from religion to architecture and from clothing to the cinema.

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Stokes, Jennifer, und John Pike. „Future ready? Engaging learners and building transferable skills through authentic assessment and digital literacy“. Pacific Journal of Technology Enhanced Learning 4, Nr. 1 (13.02.2022): 46–47. http://dx.doi.org/10.24135/pjtel.v4i1.139.

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Students are excited by the possibilities presented through digital technologies and their applicability across a broad range of industries. Digital literacy has been identified as a foundational 21st Century skill by the Australian Government (2020, p. 4), which is ‘essential for individuals to participate effectively in today’s society’. The need for strong transferable skills has accelerated during the pandemic as many industries have migrated to digital contexts. Digital literacy is a transferable skill sought after by employers, alongside other emerging transferable skills required for 21st Century success, including critical thinking, creativity and problem-solving (FYA 2017, p. 8). In this paper, we will provide a case study of authentic assessment in an innovative digital literacy course at an Australian university, designed to support students from underrepresented backgrounds to build transferable skills for degree study and future careers. Authentic assessment provides opportunities for meaningful learning as students complete assessments aligned with their aspirations and career interests: ‘Authenticity automatically gives relevance to the learning journey; relevance encourages engagement and enthusiasm, which should bring about meaningful learning’ (ACEL 2016). The scaffolded course design focuses on embedding professional practice through authentic assessment. Recent student projects include: an infographic of wellbeing techniques for children designed for educational contexts, an informative website to support refugees, a share-economy inspired app for deep cleaning, an infographic on sustainable architecture, a blog on brand development, and a review of robot programming for IT students. We will provide strategies for authentic assessment through technology-enhanced learning, which will offer insight and inspiration for educators interested in adopting these approaches. Choice is a key element of course design, allowing students to demonstrate key concepts through the creation of unique and meaningful projects. First, students demonstrate threshold concepts, then they follow industry practice to pitch and produce an individual digital project. Course design is grounded in Universal Design for Learning (UDL) and enabling pedagogy (Stokes 2017). UDL techniques, including multiple modes of representation, action and expression, and engagement, support the learning of all students (CAST 2011). Enabling pedagogical approaches work to support the development of confidence, capability and agency, while valuing the strengths individual students bring (Stokes 2021). Students aiming for diverse fields have followed their interests to create digital projects aligned with their career aspirations, from game development to health apps, business sites to educational modules, critical digital reviews to music videos, animations to augmented and virtual reality content. Production work is negotiated with tutors, who provide guidance and mentorship, following a production company ethos. Students adhere to industry standards for copyright and ethical practice in assessments, while building their professional portfolio and skills for future success. The combination of digital literacy and authentic assessments motivates students to follow their passions and create digital products they care about. This approach has resulted in outstanding student evaluations and learning outcomes, above average retention, and institutional recognition through a Digital Learning citation. Importantly, this approach supports students to build professional skills and knowledge for emerging industries and future career opportunities. References ACEL. (2016). Authentic learning: what, why and how? e-Teaching, 10. http://www.acel.org.au/acel/ACEL_docs/Publications/e-Teaching/2016/e-Teaching_2016_10.pdf Australian Government. (2020). Foundation Skills for Your Future Program: Digital Literacy Skills Framework, Canberra: Commonwealth of Australia. Australian Technology Network. (2020). ATN joint statement on authentic assessment, Australian Technology Network. https://www.atn.edu.au/news-and-events/latest-news/atn-joint-statement-on-authentic-assessment CAST. (2011). Universal Design for Learning Guidelines Version 2.0. Massachusetts: Wakefield. Foundation for Young Australians (2017). The new work smarts. https://www.fya.org.au/report/the-new-work-smarts Stokes, J. (2017). Inclusion and engagement by design: Creating a digital literacy course to inspire diverse learners in an Australian university enabling program. International Studies in Widening Participation, 4(2), 65–78. https://novaojs.newcastle.edu.au/ceehe/index.php/iswp/article/download/85/103 Stokes, J. (2021). Those skills to take on the world: developing capitals through university enabling programs. The International Journal of Learning in Higher Education, 28 (2), 133-146. DOI: 10.18848/2327-7955/CGP/v28i02/133-146

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RUSSELL, JOAN. „Cultural Diversity in Music Education: Directions and Challenges for the 21st Century by Patricia Shehan Campbell, John Drummond, Peter Dunbar-Hall, Keith Howard, Huib Schippers & Trevor Wiggins (Eds). Brisbane: Australian Academic Press, 2005. 206 pp, no price given, paperback. ISBN 1875378596“. British Journal of Music Education 24, Nr. 1 (09.02.2007): 128–30. http://dx.doi.org/10.1017/s0265051706257310.

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Martynova, V. I. „Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, Nr. 54 (10.12.2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.

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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.

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Амблард, Жак. „Visual temptation in 21st century music“. Contemporary Art, Nr. 15 (05.12.2019): 23–26. http://dx.doi.org/10.31500/2309-8813.15.2019.185916.

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Dissertationen zum Thema "Music, 21st century, Australia"

Strazzullo, Guy, University of Western Sydney, of Arts Education and Social Sciences College und School of Contemporary Arts. „An intercultural approach to composition and improvisation“. THESIS_CAESS_CAR_Strazzullo_G.xml, 2003. http://handle.uws.edu.au:8081/1959.7/501.

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Experiences as a composer and performer in Australia involve a number of significant collaborations with musicians from diverse cultures and musical backgrounds. The musical result incorporates a number of world music elements in the form of drones, rhythms and the use of instruments such as modified guitars and the tabla. But it is distinctly different in content and approach from the generic term, World music, because it deals almost exclusively with music traditions where improvisation is central to collaborative processes. The application of the term ‘intercultural improvisation’ is a more useful descriptor of the process in which musicians from diverse backgrounds cross the boundaries of their music and step into ao zone of experimentation. This is explored through composition and improvisation that cross musical boundaries
Master of Arts (Hons.)

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Handel, Amanda Jane. „Music of balance : circles and squares“. Thesis, View thesis View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/26753.

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Music of balance is a portfolio of eight compositions, all of which bear the concealed influence of mandalas in their conception - these are made manifest musically in cycle structures with shifting drones, pedals and tonal ambiguities.The compositional process maximises minimal materials - circles and squares - symbolically. Organising thought, feeling and knowledge into a balanced acoustic music form of expression is the objective of this creative project - which is carried out under the influence of symbols. Whilst the compositional processes are intuitive, they involve a disciplinary measure which employs the circle and the square as tools. Acting symbolically these tools imbue the music with deeper meaning than the obvious listening surface, and provide a rich substance of sound. Programmatic influences have been absented; replaced instead by the language of symbols - namely the mandala symbol. A range of apparent opposites arising from circles and squares - physical/ephemeral matter, chronological/eternal time and form/expression - are investigated for musical reconciliation. The compositional exploration is guided and focused by the circle in a square image understood as a universal symbol (grounded in the ancient Indian Arts, Tibetan Buddhism, Sufism and Jungian psychology), and active in representing, and thus restoring the natural balance of the soul in the universe.

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Strazzullo, Guy. „An intercultural approach to composition and improvisation“. Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/501.

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Griffin, David. „Cooking up an omelette: Elena Kats-Chernin's Mr. Barbecue as an example of her compositional approach“. Master's thesis, Sydney Conservatorium of Music, 2008. http://hdl.handle.net/2123/13288.

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Bagley, Paul Michael. „Mysticism in 20th and 21st century violin music“. Thesis, University of Maryland, College Park, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643907.

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“Mysticism,” according to the Oxford dictionary, can be defined as “belief in or devotion to the spiritual apprehension of truths inaccessible to the intellect.” More generally, it applies to the aspects of spirituality and religion that can only be directly experienced, rather than described or learned. This dissertation examines how mysticism fits into the aesthetic, compositional, and musical philosophies of four prominent composers of the 20^th and 21^st centuries—Ernest Bloch, Olivier Messiaen, Sophia Gubaidulina, and John Zorn, with a cameo by the Jewish composer David Finko—and how their engagement with the concept of mysticism and the mystical experience can be seen in a selection of their works featuring the violin: Bloch's Baal Shem suite and Poème mystique; Finko's Lamentations of Jeremiah, Zorn's Kol Nidre, Goetia, All Hallow's Eve, and Amour fou; Gubaidulina's In tempus praesens; and Messiaen's Quartet for the End of Time. These works exemplify the mysticism shared by these composers, despite their different religious and cultural backgrounds, particularly their belief in the transcendental nature of music. This belief is expressed in their works through programmatic, melodic, harmonic, rhythmic, and formal elements, all of which display, to a greater or lesser degree, the influence of mystical philosophy and symbolism.

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Darlington, Bruce. „Music in the spaces of the 21st century“. Thesis, University of Chester, 2016. http://hdl.handle.net/10034/620326.

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Assid, Tonya. „The early music ensemble in 21st century America“. Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20033/assid%5Ftonya/index.htm.

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Knezevic, Nina. „Interpreting the autobiographical archive“. Phd thesis, Sydney College of the Arts, 2009. http://hdl.handle.net/2123/13893.

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Smedley, Alison. „Developing the nurse professional and nurse education for the 21st century“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/333.

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The purpose of this portfolio was to establish what educational strategies would enhance the professional education for the nurse of the future. Through an examination of various contemporary educational theorists' work. a conceptual framework was developed using the concepts of Hargreaves (2003) as an overarching model to establish the current positioning of nursing and nursing education in the knowledge society. The preparation ofa nurse who can function effectively and efficiently within a rapidly changing health workplace relies heavily on educational preparation that includes the development of knowledge, skills and attitudes appropriate for the role. This portfolio has examined critical aspects of nursing and nurse education in relation to the development of these necessary areas for future nurse professionals.

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Pott, Francis. „'An awkward reverence' : composing oneself in the 21st-century Anglican Church“. Thesis, University of West London, 2008. http://repository.uwl.ac.uk/id/eprint/2322/.

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This thesis was written as the supporting reflective and contextual statement within a submission for the PhD by Publication at the University of West London (under its previous nomenclature of Thames Valley University). It refers extensively to the author/composer's body of published and/or recorded sacred choral music up to the year 2008. These items are not uploaded onto the Repository, but data on several of them can be located here.

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Bücher zum Thema "Music, 21st century, Australia"

Heard, Genevieve, und Dharmalingam Arunachalam, Hrsg. Family Formation in 21st Century Australia. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-017-9279-0.

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India-Australia: Towards sustainable partnership in 21st century. New Delhi: Akansha Pub. House, 2012.

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Pietsch, Juliet. Australia: Identity, Fear and Governance in the 21st Century. Canberra: ANU Press, 2012.

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Song interpretation in 21st-century pop music. Farnham, Surrey: Ashgate, 2015.

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Aróstegui, José Luis, Hrsg. Educating Music Teachers for the 21st Century. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-503-1.

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Educating music teachers for the 21st century. Rotterdam: Sense Publishers, 2011.

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21st-century musical instruments: Hardware and software. Brooklyn, N.Y: Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York, 1989.

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1958-, Malik J. Mohan, Hrsg. Australia's security in the 21st century. St Leonards, N.S.W: Allen & Unwin, 1999.

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Huisken, Ronald. ANZUS: Life after 50 : alliance managament [i.e. management] in the 21st century. Canberra: Strategic and Defence Studies Centre, Australian National University, 2001.

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Catching up: Connecting with great 21st century music. [United States]: re:new music, 2015.

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Buchteile zum Thema "Music, 21st century, Australia"

Pattie, David. „The 21st Century“. In Rock Music in Performance, 152–63. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230593305_8.

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Di Niro, Corinna. „Commedia in Australia“. In Commedia dell'Arte for the 21st Century, 18–33. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003142843-3.

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O’Flynn, John. „21st-century themes“. In Music, the Moving Image and Ireland, 1897–2017, 212–36. London: Routledge, 2021. http://dx.doi.org/10.4324/9780203710395-13.

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Thesen, Thomas Paul. „Music and Sound“. In Composition for the 21st ½ century, 435–51. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/b22148-19.

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Goodman, Robin, und Elizabeth Taylor. „Suburban Shopping Malls in Melbourne, Australia“. In Suburbia in the 21st Century, 56–77. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315644165-5.

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Vitry, Agnes Isabelle, Loc Thai und Elizabeth E. Roughead. „Pharmaceutical Pricing Policies in Australia“. In Pharmaceutical Prices in the 21st Century, 1–23. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-12169-7_1.

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Strachan, Glenda, und John Burgess. „Trade Union Survival and Women Workers in Australia“. In Unions in the 21st Century, 165–78. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230524583_12.

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Bosman, Caryl, und Keith Jacobs. „Master Planned and Active Lifestyles Developments in Australia“. In Suburbia in the 21st Century, 40–55. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315644165-4.

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Patrick, Rachel, und Nikki Moodie. „Indigenous Education Policy Discourses in Australia“. In Global Learning in the 21st Century, 165–84. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-761-0_10.

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Chandler, Kim. „Teaching Popular Music Styles“. In Teaching Singing in the 21st Century, 35–51. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8851-9_4.

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Konferenzberichte zum Thema "Music, 21st century, Australia"

„Digital Music in the 21st Century“. In 2000 Digest of Technical Papers. International Conference on Consumer Electronics. Nineteenth in the Series. IEEE, 2000. http://dx.doi.org/10.1109/icce.2000.854709.

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Laato, Samuli, Sampsa Rauti und Erkki Sutinen. „The Role of Music in 21st Century Education-Comparing Programming and Music Composing“. In 2020 IEEE 20th International Conference on Advanced Learning Technologies (ICALT). IEEE, 2020. http://dx.doi.org/10.1109/icalt49669.2020.00088.

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Thompson II, Dennis W. „INCORPORATING 21ST CENTURY SKILLS INTO DUTCH SECONDARY SCHOOL MUSIC CURRICULUM“. In 11th International Conference on Education and New Learning Technologies. IATED, 2019. http://dx.doi.org/10.21125/edulearn.2019.2380.

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Grkić Ginić, Jelena. „Student Teachers’ Music Competences Acquired in Initial Class Teacher Education“. In PROFESSIONAL COMPETENCES FOR TEACHING IN THE 21ST CENTURY. Faculty of Education in Jagodina, 2020. http://dx.doi.org/10.46793/pctja.19.204g.

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Kanev, Nikolay, Alexander Fadeev, Anatoly Livshits, Andrey Nechaev, Anton Peretokin, Vitaly Rodenkov und Natalia Shirgina. „Acoustics of new and renovated chamber music halls in Russia“. In 22nd International Congress on Acoustics: Acoustics for the 21st Century. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000384.

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Román-García, Sara, Rocio Chao-Fernandez und Aurelio Chao-Fernandez. „ICT IN THE MUSIC CLASSROOM. ACHIEVING MUSICAL LITERACY IN THE 21ST CENTURY“. In International Conference on Education and New Learning Technologies. IATED, 2017. http://dx.doi.org/10.21125/edulearn.2017.2407.

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Nainggolan, Oriana, Djohan Salim, Ayub Prasetiyo und Vill Marthien. „Integrating the Framework of 21st Century Learning (4C) into Creative Music Learning“. In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008562602340239.

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Parsons, Miles, Christine Erbe, Robert McCauley, James McWilliam, Sarah Marley, Alexander Gavrilov und Iain Parnum. „Long-term monitoring of soundscapes and deciphering a usable index: Examples of fish choruses from Australia“. In 22nd International Congress on Acoustics: Acoustics for the 21st Century. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000286.

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Tao*, Chongzhi, und Jinyin Yin. „What Enlightenment Can We Gain From World Conventional Oil and Gas Discovery in the 21st Century?“ In International Conference and Exhibition, Melbourne, Australia 13-16 September 2015. Society of Exploration Geophysicists and American Association of Petroleum Geologists, 2015. http://dx.doi.org/10.1190/ice2015-2210638.

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Goyal, Sanchit, und Eunjin Kim. „Application of fuzzy relational interval computing for emotional classification of music“. In 2014 IEEE Conference on Norbert Wiener in the 21st Century (21CW). IEEE, 2014. http://dx.doi.org/10.1109/norbert.2014.6893866.

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