Thematische Bibliographien / Musical factors

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Musical factors“

Autor: Grafiati
Veröffentlicht am 28. Juni 2021
Zuletzt aktualisiert am 17. Februar 2022

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Zeitschriftenartikel zum Thema "Musical factors"

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Kristiyanto, Eko, und Muhammad Nur Salim. „PERKEMBANGAN MUSIK KESENIAN GATHOLOCO CIPTO BUDOYO KABUPATEN TEMANGGUNG“. Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 19, Nr. 1 (12.09.2019): 25–38. http://dx.doi.org/10.33153/keteg.v19i1.2649.

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Penelitian ini bertujuan untuk mengungkap mengenai perkembangan musikal kesenian Gatholoco Cipto Budoyo Desa Kembangsari. Permasalahan utama yang dibahas adalah tentang periodisasi perkembangan musikal serta faktor-faktor yang mempengaruhinya. Untuk menjawab permasalahan tersebut, peneliti menggunakan konsep musik khususnya tentang garap dan konsep tentang perkembangan yang merujuk pada konsep periodisasi dan faktorfaktor penyebab perkembangan. Pendekatan yang digunakan adalah antropologi sosial dan musikologi dengan menggunakan metode deskripstif analisis. Hasil dari peneilitian ini mengungkap bahwa perkembangan musikal kesenian Gatholoco kelompok seni Cipto BudoyoDesa Kembangsari terjadi secara periodik, yakni melalui beberapa tahapan masa atau waktu. Periode pertama terjadi pada tahun 1963-1980, kemudian periode kedua terjadi pada tahun 1981-2000 dan periode ketiga terjadi pada tahun 2001-2018. Perkembangan musikal yang terjadi pada masing-masing periode dapat dilihat dari unsur-unsur garap diantaranya: materi garap, penggarap, sarana garap, prabot atau piranti garap, penentu garap, serta pertimbangan garap. Perkembangan musikal kesenian Gatholoco Cipto Budoyo terjadi karena adanya beberapa faktorpendukung. Faktor-faktor pendukung tersebut berasal dari dalam (internal) dan dari luar (eksternal).Kata kunci: Gatholoco, musikal, periodisasi, perkembangan, faktor-faktor. AbstractThis research aims to reveal the musical development of the Gatholoco Cipto Budoyo Kembangsari Village. The main problem discussed is about the periodization of musical development and the factors that influencing it. To answer this problem, researchers use the concept of music specifically about work and the concept of development that refers to the concept of periodization and the factors that causedevelopment. The approach used is social anthropology and musicology by using descriptive analysis methods. The results of this study revealed that the musical development of the art group Gatholoco Cipto Budoyo, Kembangsari Village that occurred periodically through several stages of time. The first period occurred in 1963-1980, then the second period occurred in 1981-2000 and the third periodoccurred in 2001-2018. Musical developments that occur in each period can be seen from the elements of cultivation including: works on material (garap), instrument players, facilities of the works (garap), instruments and determinants of the works (garap), and the consideration of the works (garap). The musical art development of Gatholoco Cipto Budoyo was due to several supporting factors. These supporting factors come from within (internal) and from outside (external).Keywords: Gatholoco, musical, periodization, development, factors.
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ZHANG, Jingjing, und Yufang YANG. „Influential factors in musical syntactic processing“. Advances in Psychological Science 25, Nr. 11 (2017): 1823. http://dx.doi.org/10.3724/sp.j.1042.2017.01823.

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Berrios, G. E. „Musical Hallucinations“. British Journal of Psychiatry 156, Nr. 2 (Februar 1990): 188–94. http://dx.doi.org/10.1192/bjp.156.2.188.

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A sample of 46 subjects experiencing musical hallucinations was analysed – 10 new cases in addition to 36 culled from the literature. When compared with controls, it was found that musical hallucinations are far more common in females, and that age, deafness, and brain disease affecting the non-dominant hemisphere play an important role in their development. Psychiatric illness and personality factors were found to be unimportant.
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Schmuckler, Mark A. „Expectation in Music: Investigation of Melodic and Harmonic Processes“. Music Perception 7, Nr. 2 (1989): 109–49. http://dx.doi.org/10.2307/40285454.

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Expectancy has long been of interest to psychologists and recently has become the focus of research in musical cognition. Four experiments are reported that investigated the formation of expectancies in musically trained listeners and performers. Experiments 1 and 2 examined the factors underlying the formation of melodic and harmonic expectancies, respectively. Both experiments found evidence for the psychological reality of constructs derived from the music-theoretic literature in expectancy formation. Experiment 3 investigated the generation of expectancies for a full musical context (one containing simultaneous melodic and harmonic information) and found that melody and harmony were perceptually independent, such that they combined additively in expectancy formation for a full musical context. Experiment 4 provided a convergent operation for the earlier studies by having skilled pianists perform their expectations for the same passages. These productions strongly correlated with the perceptual expectancies of Experiments 1-3. Taken together, these studies provide evidence for the existence of musical expectancy, as well as delineating some of the factors affecting its formation.
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Shelemay, Kay Kaufman. „Musical Communities: Rethinking the Collective in Music“. Journal of the American Musicological Society 64, Nr. 2 (2011): 349–90. http://dx.doi.org/10.1525/jams.2011.64.2.349.

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Abstract This essay discusses the study of musical communities, taking as its point of departure the growing avoidance of the term “community” within much of recent musical scholarship. After exploring factors that have been responsible for the move away from community studies, the paper details both the creation of new nomenclature and the discourse surrounding the introduction of these new terms. Based on insights drawn from musical ethnography with recent African immigrants to the United States, the paper goes on to propose a revised framework for approaching “community.” It suggests that attention to processes of descent, dissent, and affinity both elucidates music's generative role in shaping new collectivities and unsettles the notion of music as a static sonic marker of social groupings. The conclusion touches briefly on new research from the sciences that is beginning to shed new light on music's role in generating social outcomes and the potential it holds for future collaboration with music scholars across disciplinary boundaries.
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Choi, Tae-Kyu. „Choice ＆ Satisfaction Factors of Musical as Culture Contents“. Journal of the Korea Contents Association 11, Nr. 6 (28.06.2011): 205–14. http://dx.doi.org/10.5392/jkca.2011.11.6.205.

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Slayton, Matthew, Adam S. Bristol und Indre V. Viskontas. „Factors affecting group creativity: lessons from musical ensembles“. Current Opinion in Behavioral Sciences 27 (Juni 2019): 169–74. http://dx.doi.org/10.1016/j.cobeha.2018.12.013.

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Horn, David. „From Catfish Row to Granby Street: contesting meaning in Porgy and Bess“. Popular Music 13, Nr. 2 (Mai 1994): 165–74. http://dx.doi.org/10.1017/s0261143000007029.

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For reasons which would themselves be worthy of an article, the musical theatre has been almost entirely ignored by popular music scholarship. This has often puzzled me, since such factors as the musical theatre's ambiguous position in the high/low culture debate, its close relationship with film (film musicals were for a time a favoured subject – with film theorists), its persistent playing with the links between song and drama, the sociality of its performance conventions, the durability of the amateur performance tradition, to name but a few, together suggest a promising vein of study. Musical theatre songs have been the subject of intermittent scholarly investigation, mostly from a perspective derived from classical musicology. Wilfrid Mellers, characteristically, sought meaning through musicology (he speaks of Cole Porter's chromatics as telling us ‘regretfully, that we are kidding ourselves’ (in love) and of the ‘queasy honesty’ of ‘Anything Goes’), but found too many musicals tend to ‘create an illusion that we can live on the surface of our emotions’ and never get beyond that point. (Mellers 1964, pp. 384, 385).
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Janata, Petr, Joshua Peterson, Clinton Ngan, Bokyoung Keum, Hannah Whiteside und Sonia Ran. „Psychological and Musical Factors Underlying Engagement with Unfamiliar Music“. Music Perception 36, Nr. 2 (01.12.2018): 175–200. http://dx.doi.org/10.1525/mp.2018.36.2.175.

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What are the factors that determine how long a person chooses to listen to an unfamiliar piece of music? We examined this question across three experiments in which we played participants novel repeating multi-instrument stimuli and recorded their listening times and reasons for their decisions to either continue or stop listening. To influence the habituating effects of repeating musical material drawn from a large stimulus library (> 450 items), we manipulated novelty along several musical dimensions. In Experiment 1, all instruments entered simultaneously. In Experiment 2, instrument entrances were also offset in time. In Experiment 3, we composed core multi-instrument loops and manipulated them to further minimize harmonic variability, minimize rhythmic variability, introduce spatialization, or change timbral characteristics. Novelty introduced by instrument entrances was the strongest determinant of listening times, though harmonic variability and timbral features were also important. Subjective enjoyment was the best predictor of listening times, mediating the effects of the degree of perceived groove in a stimulus, the urge to move, interest in a stimulus, perceived complexity, and congruency with current mood. We conclude that naturalistic looping musical stimuli serve well to examine the diverse psychological and musical determinants of choice behavior underlying music consumption.
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Manchester, Ralph A. „Musical Instrument Ergonomics“. Medical Problems of Performing Artists 21, Nr. 4 (01.12.2006): 157–58. http://dx.doi.org/10.21091/mppa.2006.4033.

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David Nabb's interview of Maarten Visser on page 159 of this issue and Brenda Wristen's article on the 7/8ths keyboard from the March issue are two recent examples of articles on musical instrument ergonomics. Ergonomics, literally the study of work, is defined as "the applied science of equipment design intended to maximize productivity by reducing operator fatigue and discomfort." When I was an undergraduate student at Tufts University in the 1970s, my engineering roommate studied "human factors engineering" (but never applied it to music, as far as I know). In 2006, a Google search for "ergonomic musical instruments" yields over 1 million websites; a search for "musical instruments" yields 16 million websites.
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Dissertationen zum Thema "Musical factors"

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Wapper, Toni. „Factors associated with musical preference /“. Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsw252.pdf.

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Howard, Sara Louise. „Exceptional musical performance : assessment of intelligence, musical aptitude, practice and empathy as contributing factors /“. Title page, table of contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09HS/09hsh8481.pdf.

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XU, JIN. „The factors affecting the development of the musical performance : A study on the musical performance in Shanghai“. Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13680.

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The development of musical theatre in china is still in its initial stage, only a few big theatres have the ability of operating musical performance, and at this time, musical theatre is only performed in few big cities in China, like Shanghai and Beijing. The the-sis focuses on the development of musical theatre in Shanghai. As an entertainment ac-tivity and also one of the performing arts, the demand for musical theatre could be affect by many factors like educational background, income and competition from other forms of entertainment activities. There were many previous studies about the performing arts which also focused on the factors like education and income, however, the level of con-tributions of these factors to the development of different forms of performing arts are different. By reviewing related previous literatures and analyzing the data collected from Shanghai Grand Theatre which bases on a meta analysis of previous studies of performing arts, the thesis explores the current situation of the development of the mus-ical performance in Shanghai and studies various factors that affect the demand for musical theatre, as a result, a deeper understanding of how factors like educational background, income, competition among forms of entertainment activities etc. affect the development of musical theatre in Shanghai wish to be provided.
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Meinz, Elizabeth J. „When can experience reduce age differences in cognitive tasks? : a study of musical memory“. Diss., Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/28791.

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Hutchins, Sean. „Implicit memory for music : factors affecting musical priming and their time courses“. Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115889.

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This thesis investigates implicit memory for music, as measured by repetition priming: a processing benefit for previously encountered items. Although repetition priming has been documented in many domains, including language, visual perception, and environmental sounds, it has not yet been demonstrated in music, a domain replete with pitch repetition. A novel methodology is presented in which participants sang back the final tone of a short melody. Experiments presented in Chapter 2 show that participants were faster to sing back a target tone when it was a repetition of a previous melodic tone than when it was not, and this effect was greatest when the repetition was closest to the target. These studies also showed a benefit for expected tonic tones, which were manipulated independently of the repetition effect. Chapter 3 presents a new analysis method for measuring response latencies in sung tones. A time-frequency representation that optimizes the tradeoff between time and frequency for each point in time yielded a measurement of singers' time to reach a target frequency, which takes into account both speed and accuracy of the vocal productions. The time-frequency measurement, applied to the data presented in Chapter 2, showed longer times to reach target frequency for higher pitches, as well as larger effects of tonal priming than were attained through traditional response latency measures. The experiments in Chapter 4 examine the time course of the effects of repetition and tonality. The singing-back paradigm used in Chapter 2 also was used with the additional manipulation of stimulus tempo. These studies implicated interference rather than decay as the cause of the decreased repetition priming effect. Stimulus tempo manipulations showed separate time courses for repetition and tonal priming. Together, these studies provide the first evidence of repetition priming in music, document its interaction with other factors including tonality and pitch height, and describe its time course. The findings are discussed in terms of sensory and cognitive theories of priming.
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Newsome, R. „The 19th century brass band in northern England : musical and social factors in the development of a major amateur musical medium“. Thesis, University of Salford, 1998. http://usir.salford.ac.uk/2026/.

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This thesis examines the development of the amateur wind band in Britain during the nineteenth century, with special reference to the increasing domination of the brass band, particularly in northern England. After a preliminary review of British amateur wind bands generally, the growth of the brass band competition is investigated, showing how the contesting bands were initially concentrated in Yorkshire. The effects of industrial sponsorship and the emergence of the volunteer movement from 1859 are examined, along with the consequent shift in the concentration of bands from Yorkshire - mainly to Lancashire but also, to a limited degree, to other parts of the north and to the north midlands. Instrumentation and repertoire are also discussed, along with some collections of early band music. Part 2 of the thesis looks specifically at developments during the final quarter of the century, first of all in terms of repertoire, then through some of the personalities involved - conductors and players - before investigating the roles played by the best of the bands. Finally, having shown how a regional brass band movement grew from a nationwide net-work of wind bands, the thesis looks at ways in which the fledgling brass band movement began to spread, paving the way for the national and, indeed, international brass band movement of the twentieth century.
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Johnson, Brandon Paige. „Elements of excellence: A study of musical and non-musical factors common within non-conservatory college and university choral programs recognized for excellence“. Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280289.

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This study explores commonalities found within six non-conservatory college/university choral programs recognized for excellence within art of choral performance. The study provides areas of reform for other choral directors in an effort to further develop choral singing in post secondary institutions of the United States. The participating institutions were selected by a survey of their peers and were limited, by category, as delineated by the Carnegie Foundation. The institutions chosen for participation include: Concordia College, St. Olaf College, Northern Arizona University, San Jose State University, Florida State University and The University of Illinois Champaign-Urbana. Interviews with the Directors of Choral Activities and of the Directors of the Schools of Music are used to collect musical and non-musical information. The author has provided a discussion of commonalities, recommendations for reform, and a literature compilation of the selected institutions choral performances, as a reference guide for current choral conductors. Areas of discussion include: rehearsal technique, literature, collaboration, funding considerations, and administrative concerns.
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King, Tyler C. „Factors influencing adults' participation in community bands of Central Ohio“. Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243881978.

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Moreno, Sala María Teresa. „The influence of perceptual shift, cognitive abilities and environmental factors on young children's development of absolute and relative pitch perception /“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85941.

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The main purpose of the present study was to investigate whether a shift from absolute to relative pitch perception occurs during early childhood. Other factors that can influence the development of absolute pitch, such as cognitive abilities and the child's environment were examined. Young children completed (n=88): (1) a variety of pitch tasks (absolute and relative pitch tests) prior to and after two months of focused instruction on absolute and relative pitch, (2) tests of cognitive abilities, and (3) a questionnaire gathering information about family musical environment.
The results indicate that a shift from absolute to relative perception occurs between the ages of 5 and 7. Children younger than six demonstrated limited ability to perform relational tasks such as ordering bells, identifying transposed intervals, and comparing pitches. However, they memorized target pitches better than the older children, matched target tones on the xylophone and sang newly learned songs in their original key more often than did the older children. Older children benefited to a larger extent from the training on relative pitch. Cognitive and spatial abilities were related to absolute pitch development: children who identified pitches better had a more sequential and a less simultaneous way of processing information. Family musical environment seems to have influenced the development of absolute pitch. Implications for the acquisition of absolute pitch are discussed.
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Manners, Bianca. „The critical success factors for managing the visitor experience at a major musical event / Bianca Manners“. Thesis, North-West University, 2011. http://hdl.handle.net/10394/8440.

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With numerous artists coming to South Africa, the event industry is becoming congested with competition. This makes the production of a memorable visitor experience to events particularly challenging for the management of the event. Various aspects are required to occur when managing an event, and these contribute to the success and memorable experience of visitors. These aspects can either be controlled or uncontrolled by management. To ensure a successful event and memorable experience for visitors, event managers have to consider all of the various aspects that can be controlled within the event organisation when hosting a major music event. It is therefore important for management to ensure that the controllable key management aspects, also referred to as Critical Success Factors (CSFs), are implemented effectively and efficiently to ensure a memorable visitor experience. However, even though these management aspects (CSFs) may be familiar to event managers, the significance of what visitors regard as important concerning those aspects that would ensure a memorable visitor experience is, as yet, undefined. In addition, according to available literature, CSFs differ between the different events and different tourism organisations. Thus, CSFs identified at one event to ensure the successful management of a memorable visitor experience cannot be used at other events. Hosting major music events at various locations can be even more challenging as visitors attending major music events at different locations are a non-homogeneous market and so regard different aspects in different lights. Therefore, it is evident that the CSFs identified with regard to what visitors at one venue will consider as important will differ from those regarded as important at another venue, even when it is the same performer at each venue. Thus, it became critical to seek answers to the questions of what visitors to a major music event regarded as important CSFs and how did the importance of these CSFs differ between location and location? Therefore, the purpose of this study became the determination of the CSFs for managing the visitor experience at major music events in South Africa. The year 2011 was the first time that world-famous Neil Diamond had performed in South Africa. Neil Diamond performed four concerts at different locations (Johannesburg’s FNB stadium, Durban’s Moses Mabhida Stadium, Cape Town’s Greenpoint Stadium and at Port Elizabeth’s Nelson Mandela Stadium). This was the first time major music events had been held at these venues where one performing artist performed at all four different locations (cities). Thus, this event was the ideal opportunity to investigate. In order to realise the goal of the research, surveys were conducted at the four Neil Diamond concerts held, respectively, in Johannesburg (1 April, 2011), Durban (5 April, 2011), Port Elizabeth (8 April, 2011) and Cape Town (11 April, 2011) where, altogether, 1820 questionnaires were administered. The purpose of the first article was to determine what visitors at a major musical event regarded as critical management aspects, or as critical success factors (CSFs), for a memorable and satisfactory visitor experience. This was to aid major music event managers with information they could use to improve and ensure memorable visitor experiences in the future. A factor analysis was performed to determine the CSFs. Six factors were revealed, being General Management; Souvenirs; Marketing; Venue and Technical aspects; Accessibility and Parking; and Amenities and Catering. General Management, Venue and Technical aspects and Marketing were regarded as the most important CSFs for visitors to a major music event. It was subsequently confirmed that CSFs differed from one event to another. Thus it became clear that one set of CSFs cannot be used across each venue for events. By determining the CSFs, and through successfully managing these factors, major music events will ensure the retention of long term visitor goodwill, and so will remain competitive and sustainable. Neil Diamond presented four concerts at four different locations, The purpose of the second article was to determine the impact that location makes to the visitor experience at a major music event. Two-way frequency tables and Chi-square tests as well as ANOVAS and Turkey’s multiple comparisons were used to determine the differences between the four locations. Statistically significant differences were found, based on demographic, behavioural variables and motivational factors. Determining the effects these differences have provided major music event managers with superior knowledge in order to develop and manage future concerts at the differing destinations and locations. This research also help management to create a memorable visitor experience and so foster the promotion of future events more effectively to the target audiences, as well as potential sponsors. This specificity can also enhance bid documents for organisations and locations aiming at hosting major music events. This research revealed six critical success factors at a major music event. These CSFs can be used to enhance the visitor experience. However, it was also found that one set of CSFs cannot be used for every event as different locations regard different CSFs as being more important than others. Since major music events are often held at more than one location, it becomes critical to differentiate each location as the visitors to the various locations cannot be seen as homogeneous and so will have different needs and expectations. Thorough and informed knowledge of what is required for visitor satisfaction will not only ensure an improved event, but will enhance the visitor experience at such an event. This was the first time research was performed at major music events in South Africa that revealed the profile, motives, CSFs and spending behaviour of visitors to these events. Research not only provided information concerning the CSFs needed to manage the visitor experience at a major music event, but also provided an overall perspective of what visitors regard as important for a memorable visitor experience at four different geographic destinations hosting the same artist. This research contributes to the literature concerning the management of major music events and concerning the creation of memorable visitor experiences at these events.
Thesis (MA (Tourism Management))--North-West University, Potchefstroom Campus, 2012
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Bücher zum Thema "Musical factors"

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Goetze, Mary. Factors affecting accuracy in children's singing. [Ann Arbor: s.n.], 1985.

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Swanner, Diana Lee. Relationships between musical creativity and selected factors, including personality, motivation, musical aptitude, and cognitive intelligence as measured in third grade children. [Cleveland, Ohio: s.n.], 1985.

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Zimmerman, Sally-Anne. Instrumental music: Factors in learning musical instruments for children and young people who are visually impaired. London: R.N.I.B., 1998.

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Stokes, W. Ann. Intelligence and feeling: A philosophical examination of these concepts as interdependent factors in musical experience and music education. Evanston, Ill: [s.n.], 1990.

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Baltzer, Samuel W. A factor analytic study of musical creativity in children in the primary grades. [Bloomington: s.n.], 1989.

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Dufourcq, Norbert. Les Clicquot, facteurs d'orgues du roi. 2. Aufl. Paris: L'Orgue, 1990.

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Lynne, Tillman, Hrsg. The velvet years: Warhol's factory, 1965-67. New York, NY: Thunder's Mouth Press, 1995.

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The dream factory: Fender Custom Shop. Wilwaukee, WI: Hal Leonard, 2011.

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Caïn, Jean-Robert. Les Isnard: Une révolution dans la facture d'orgues. La Calade, Aix-en-Provence: Edisud, 1991.

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Les facteurs d'instruments de musique à Paris au XIXe siècle: Des artisans face à l'industrialisation. Bruxelles, Belgique: Editions de l'Université de Bruxelles, 1985.

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Buchteile zum Thema "Musical factors"

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Mochida, Yasunori. „Human Factors in Electronic Musical Instruments“. In Application Development Systems, 188–95. Tokyo: Springer Japan, 1986. http://dx.doi.org/10.1007/978-4-431-68051-2_10.

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Schmidt, Sebastian. „The Model of Musical Extrapolations – Basic Factors and their Inter-dependencies“. In Musical Extrapolations, 223–88. Wiesbaden: Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-11125-0_4.

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Park, Saebyul, Chung-Kon Shi und Jeounghoon Kim. „The Role of Affective Factors in Computer-Aided Musical Learning for Non-musician Adults“. In HCI International 2014 - Posters’ Extended Abstracts, 133–38. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07854-0_24.

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Davies, Richard. „Two factors of unification for musical notes: Closeness in time and closeness in tone“. In Paolo Bozzi’s Experimental Phenomenology, 273–91. 1 Edition. | New York : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351232319-26.

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Zecchinelli, Luisa. „Comments on two factors of unification among musical notes: Closeness in time and closeness in tone“. In Paolo Bozzi’s Experimental Phenomenology, 292–304. 1 Edition. | New York : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351232319-27.

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Schankler, Isaac, Jordan B. L. Smith, Alexandre R. J. François und Elaine Chew. „Emergent Formal Structures of Factor Oracle-Driven Musical Improvisations“. In Mathematics and Computation in Music, 241–54. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21590-2_19.

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Schmid, Gian-Marco. „Study 3: Exploratory Factor Analysis“. In Evaluating the Experiential Quality of Musical Instruments, 23–30. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-18420-9_7.

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de la Motte-Haber, Helga. „Fundamental Factors of Music Comprehension“. In Music and the Mind Machine, 19–25. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/978-3-642-79327-1_2.

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Antonova, Natalia V., und Vladislav Gorbov. „Musical Accompaniment as a Factor of Psychological Effectiveness of Advertising“. In Applied Psychology Readings, 1–19. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-8034-0_1.

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Turek, Ralph, und Daniel McCarthy. „The Melodic Factor in Four-Voice Part Writing“. In Theory for Today’s Musician, 181–95. Third edition. | New York ; London : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351246262-15.

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Konferenzberichte zum Thema "Musical factors"

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Huggard, Amy, Anushka De Mel, Jayden Garner, Cagdas Toprak, Alan Chatham und Florian Mueller. „Musical embrace“. In CHI '13 Extended Abstracts on Human Factors in Computing Systems. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2468356.2479517.

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Huggard, Amy, Anushka De Mel, Jayden Garner, Cagdas "Chad" Toprak, Alan D. Chatham und Florian Mueller. „Musical embrace“. In CHI '13 Extended Abstracts on Human Factors in Computing Systems. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2468356.2479612.

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Poon Chong, Peter, und Terrence Lalla. „APPLYING FUZZY QFD MCDM TO EVALUATE MUSICAL INSTRUMENTS“. In International Conference on Emerging Trends in Engineering & Technology (IConETech-2020). Faculty of Engineering, The University of the West Indies, St. Augustine, 2020. http://dx.doi.org/10.47412/bgmj4037.

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This paper exhibits a method to improve the quality of musical instruments with the application of two Multi-Criteria Decision Making models, Technique of Order Preference by Similarity to Ideal Solution (TOPSIS) and Analytic Hierarchy Process (AHP) in a Quality Function Deployment (QFD) Environment. A fuzzy analysis approach was also included to accommodate qualitative data in music. The QFD was constructed with literature based on optimizing the manufacture of musical instruments. At this phase of the research, the paper focused on the physical parameters and perceived qualities of musical instruments. The proposed modified QFD was developed to identify the product features chosen by the market and aid the manufacture of musical instruments. A standard QFD recognized and scored factors to develop and manufacture musical instruments. It accommodated some core engineering variables for the musical instruments but overlooked some feature stakeholder needs. For example, the musician may not have 100% gratification while playing the instrument as the manufacturer fails to capture acoustic features to psychologically satisfy the musician’s audience. Using fuzzy logic, QFD and MCDM increased the model performance by expanding the data set. It offered the manufacturer of musical instruments a mode to capture and analyse behavioural linguistic data covering more customer requirements. Hence, the approach increased the range to correlate the physical features and psychological behaviours of musical instruments. It allowed non-technical persons to provide an improved form of reliable information. This modified QFD can also be applied to develop other products involving linguistic data.
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Yu, Ruihua. „The Role of Musical and Cultural Factors in Music Teaching“. In 2017 7th International Conference on Education and Management (ICEM 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icem-17.2018.147.

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Lyons, Michael J., und Sidney Fels. „Introduction to Creating Musical Interfaces“. In CHI'16: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2851581.2856665.

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Hazzard, Adrian, Steve Benford und Gary Burnett. „Sculpting a Mobile Musical Soundtrack“. In CHI '15: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2702123.2702236.

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Lyons, Michael J., und Sidney S. Fels. „Introduction to Creating Musical Interfaces“. In CHI '15: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2702613.2706666.

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van der Smissen, Andrea. „Musikalische Innovation im Umfeld der Moderne und historischen Avantgarde in Ungarn“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.75.

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In recent decades the interpretation of music history of the interwar period was determined by factors which allowed only national or folkloristic approaches to modern music in Hungary. However, the composers of the group ‘Modern Hungarian Musicians’, connected to the forums of the New Music like the ISCM or Cowell‘s NMS, were committed to a transcultural view of musical innovation. Through intermedial connections between literary and fine art, they received non-musical impulses by modern and avantgarde movements. This paper makes an approach on their heterogeneous conception of music with the common sense, to set a renewal of the musical language as its goal.
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Jee, Eun-Sook, Chong Hui Kim, Soon-Young Park und Kyung-Won Lee. „Composition of Musical Sound Expressing an Emotion of Robot Based on Musical Factors“. In RO-MAN 2007 - The 16th IEEE International Symposium on Robot and Human Interactive Communication. IEEE, 2007. http://dx.doi.org/10.1109/roman.2007.4415161.

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Hung, Yun-Ning, I.-Tung Chiang, Yi-An Chen und Yi-Hsuan Yang. „Musical Composition Style Transfer via Disentangled Timbre Representations“. In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/652.

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Music creation involves not only composing the different parts (e.g., melody, chords) of a musical work but also arranging/selecting the instruments to play the different parts. While the former has received increasing attention, the latter has not been much investigated. This paper presents, to the best of our knowledge, the first deep learning models for rearranging music of arbitrary genres. Specifically, we build encoders and decoders that take a piece of polyphonic musical audio as input, and predict as output its musical score. We investigate disentanglement techniques such as adversarial training to separate latent factors that are related to the musical content (pitch) of different parts of the piece, and that are related to the instrumentation (timbre) of the parts per short-time segment. By disentangling pitch and timbre, our models have an idea of how each piece was composed and arranged. Moreover, the models can realize “composition style transfer” by rearranging a musical piece without much affecting its pitch content. We validate the effectiveness of the models by experiments on instrument activity detection and composition style transfer. To facilitate follow-up research, we open source our code at https://github.com/biboamy/instrument-disentangle.
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Berichte der Organisationen zum Thema "Musical factors"

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

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