Inhaltsverzeichnis
Auswahl der wissenschaftlichen Literatur zum Thema „Passion music Analysis, appreciation“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Passion music Analysis, appreciation" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Zeitschriftenartikel zum Thema "Passion music Analysis, appreciation"
1
Wei, Zhou. „Analysis on the Charm of Music Appreciation“. Music Report 2, Nr. 3 (2020): 73–77. http://dx.doi.org/10.35534/mur.0203012c.
Der volle Inhalt der Quelle
2
Buel, Dona L., und Samuel C. Welch. „Improving Music Appreciation Class Using Cohort Analysis“. General Music Today 13, Nr. 3 (April 2000): 13–15. http://dx.doi.org/10.1177/104837130001300304.
Der volle Inhalt der Quelle
3
Sanitnarathorn, Pannawit. „An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry“. Journal of Education and Training Studies 6, Nr. 3a (01.04.2018): 78. http://dx.doi.org/10.11114/jets.v6i3a.3161.
Der volle Inhalt der QuelleAnnotation:
Digital music streaming are climbing but overall music revenue is declining with digital music piracy being blamed as the culprit. In a 10 year period from 2003 to 2013, global music sales dropped from $US23.3 to $US15 billion dollars with Thailand’s music industry following the trend dropping from $US 304 million in 2010 to $US 279 million in 2014. The study therefore used a structural equation model to analyze the variables affecting digital music piracy and fan music streaming's purchase intention. From the seven point Likert scale questionnaire, 350 music fans were surveyed concerning their digital music streaming activities. The qualitative research was conducted with 10 executives in music industry by the use of purposive sampling. Partial Least Square Graph software was used for model verification with the results showing that fan idolatry has the highest influence on the overall decision to stream music digitally. The results showed that the results of quantitative research is practical and acceptable hypothesis significance at p ≤ 0.05 by factors that have a direct influence positive peak and overall influence is the highest passion to affect their willingness to stream music digitally to consumers. The findings of this study concluded that the artist's passion for their music fans is the key factor in music lover’s intent to stream and pay for digital music. Fans are ultimately the most important sector of the industry and unfortunately it is one which the industry forgets about. Labels or artists who focus on only ‘looking good’ while not engaging their fan audiences are destined for a continuing decline in their sales numbers.
4
Cho, Sung-gi, und YeoJin Hwang. „Status Analysis of Music Appreciation Education in the Secondary School“. Korean Society of Music Education Technology 33 (16.10.2017): 135–53. http://dx.doi.org/10.30832/jmes.2017.33.135.
Der volle Inhalt der Quelle
5
Jorgensen, Estelle R. „Percy Scholes on Music Appreciation: Another View“. British Journal of Music Education 4, Nr. 2 (Juli 1987): 139–56. http://dx.doi.org/10.1017/s0265051700005908.
Der volle Inhalt der QuelleAnnotation:
Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.
6
Platz, Friedrich, und Reinhard Kopiez. „When the Eye Listens: A Meta-analysis of How Audio-visual Presentation Enhances the Appreciation of Music Performance“. Music Perception 30, Nr. 1 (01.09.2012): 71–83. http://dx.doi.org/10.1525/mp.2012.30.1.71.
Der volle Inhalt der QuelleAnnotation:
the visual component of music performance as experienced in a live concert is of central importance for the appreciation of music performance. However, up until now the influence of the visual component on the evaluation of music performance has remained unquantified in terms of effect size estimations. Based on a meta-analysis of 15 aggregated studies on audio-visual music perception (total N = 1,298), we calculated the average effect size of the visual component in music performance appreciation by subtracting ratings for the audio-only condition from those for the audio-visual condition. The outcome focus was on evaluation ratings such as liking, expressiveness, or overall quality of musical performances. For the first time, this study reveals an average medium effect size of 0.51 standard deviations — Cohen's d; 95% CI (0.42, 0.59) — for the visual component. Consequences for models of intermodal music perception and experimental planning are addressed.
7
Meehan, Sarah, Elizabeth A. Hough, Gemma Crundwell, Rachel Knappett, Mark Smith und David M. Baguley. „The Impact of Single-Sided Deafness upon Music Appreciation“. Journal of the American Academy of Audiology 28, Nr. 05 (Mai 2017): 444–62. http://dx.doi.org/10.3766/jaaa.16063.
Der volle Inhalt der QuelleAnnotation:
Background: Many of the world’s population have hearing loss in one ear; current statistics indicate that up to 10% of the population may be affected. Although the detrimental impact of bilateral hearing loss, hearing aids, and cochlear implants upon music appreciation is well recognized, studies on the influence of single-sided deafness (SSD) are sparse. Purpose: We sought to investigate whether a single-sided hearing loss can cause problems with music appreciation, despite normal hearing in the other ear. Research Design: A tailored questionnaire was used to investigate music appreciation for those with SSD. Study Sample: We performed a retrospective survey of a population of 51 adults from a University Hospital Audiology Department SSD clinic. SSD was predominantly adult-onset sensorineural hearing loss, caused by a variety of etiologies. Data Analysis: Analyses were performed to assess for statistical differences between groups, for example, comparing music appreciation before and after the onset of SSD, or before and after receiving hearing aid(s). Results: Results demonstrated that a proportion of the population experienced significant changes to the way music sounded; music was found to sound more unnatural (75%), unpleasant (71%), and indistinct (81%) than before hearing loss. Music was reported to lack the perceptual qualities of stereo sound, and to be confounded by distortion effects and tinnitus. Such changes manifested in an altered music appreciation, with 44% of participants listening to music less often, 71% of participants enjoying music less, and 46% of participants reporting that music played a lesser role in their lives than pre-SSD. Negative effects surrounding social occasions with music were revealed, along with a strong preference for limiting background music. Hearing aids were not found to significantly ameliorate these effects. Conclusions: Results could be explained in part through considerations of psychoacoustic changes intrinsic to an asymmetric hearing loss and impaired auditory scene analysis. Given the prevalence of music and its capacity to influence an individual’s well-being, results here present strong indications that the potential effects of SSD on music appreciation should be considered in a clinical context; an investigation into relevant rehabilitation techniques may prove valuable.
8
Osiebe, Garhe. „Electoral Music Reception“. Matatu 49, Nr. 2 (20.12.2017): 439–66. http://dx.doi.org/10.1163/18757421-04902011.
Der volle Inhalt der QuelleAnnotation:
Abstract Audiences in Africa are a grossly under-researched demographic. This paper centres on the comparative analysis of two electoral audience-based surveys conducted between April and September 2012 in the Nigerian states of Bayelsa and Lagos; following the April 2011 presidential election in Nigeria that ushered the erstwhile President Goodluck Jonathan into power. The surveys sought to know the electorates’ reaction to the electoral campaign songs that endorsed Jonathan and how these songs informed their choice of candidate. The paper’s analysis combines an appreciation of the surveys’ results and the surveys’ procedure while focusing on the middle-ground between aesthetics and politics in the context.
9
Lv, Yang. „Influence of cognitive neural mechanism on music appreciation and learning“. Translational Neuroscience 10, Nr. 1 (23.04.2019): 57–63. http://dx.doi.org/10.1515/tnsci-2019-0010.
Der volle Inhalt der QuelleAnnotation:
AbstractBased on the related research results of the relationship between cognitive neural mechanism and music in recent years. In this paper, we study the relationship between the cognitive neurons and music from the overlapping and separation of brain neuro-mechanism and the significance of functional relationships between the two. Through analysis, it can be seen that the cognitive neural mechanism has a certain influence on music appreciation and learning and the studies on brain-damaged patients show that the two may have separate and independent neural bases. Finally, we find the influence of sub-consciousness on decision making through the measurement of SCRs (skin conductance responses), and thus propose a decision model modified by subconscious and make an outlook for future research trends.
10
Wolf, Motje. „The Appreciation of Electroacoustic Music: The prototype of the pedagogical ElectroAcoustic Resource Site“. Organised Sound 18, Nr. 2 (11.07.2013): 124–33. http://dx.doi.org/10.1017/s1355771813000046.
Der volle Inhalt der QuelleAnnotation:
This article introduces research on the influence of teaching on the change of inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to make Key Stage 3 students (11–14 years old)1 familiar with electroacoustic music. The curriculum introduced music using concepts, such as music with real-world sounds and music with generated sounds. Presented in an online environment and accompanied with a teachers’ handbook, the curriculum can be used online or as classroom-based teaching resource.The online environment was developed with the help of user-centred design. Following this, the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester, UK. Data were collected using questionnaires, a listening response test and a summary of the teaching (letter written by participants). Qualitative content analysis was used for the data analysis.Results include the change of the participants’ appreciation of electroacoustic music during the study. Successful learning and a decrease in alienation towards electroacoustic music could be measured. The study shows that the appreciation of electroacoustic music can be enhanced through the acquirement of conceptual knowledge. Especially important was the enhancing of listening skills following a listening training as well as the broadening of the participants’ vocabulary that enabled them to describe their listening experience.
Dissertationen zum Thema "Passion music Analysis, appreciation"
1
李德芬 und Daphne Lee. „The transmission of Qin music: the analysis of four versions of the composition Pingsha luoyan“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B43894896.
Der volle Inhalt der Quelle
2
Lucas, James Edward. „Score and analysis of the International Suite for Two Pianos and Orchestra /“. The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747395.
Der volle Inhalt der Quelle
3
Mahoney, J. Jeffrey. „The Elements of Jazz Harmony and Analysis“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.
Der volle Inhalt der QuelleAnnotation:
This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
4
Hughes, John Charles. „Leonhard Lechner's Passion (1593): cultural contexts, musical analysis, and historical implications“. Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1469.
Der volle Inhalt der QuelleAnnotation:
The Historia der Passion und Leidens unsers einigen Erlösers und Seligmachers Jesu Christi (1593) by Leonhard Lechner (c. 1553-1606) is frequently cited as an important work in the development of the Passion idiom. Given the work's notoriety, it is therefore odd that little substantive analysis of the piece exists. Aside from some scholars' cursory comments about the piece, only James Morgan Sides's dissertation has discussed the work at length. Sides's findings give a somewhat limited picture of Lechner's Passion because he primarily focuses on technical aspects of Lechner's musical language. This essay instead seeks to provide a more comprehensive examination of Lechner's composition by taking into account social factors that influenced the history, reception, and stylistic influence of the work. The essay seeks to understand Lechner's Passion according to its cultural context, place it within the Passion genre and Lechner's biography, reception history, as well as explore its influence on later Passion settings. It then uses these factors as a means to explore Lechner's musical language to a greater extent than previous scholarship.
The first chapter explores how social trends in sixteenth-century Württemberg, where Lechner was a chorister when he composed his Passion in 1593, affected his musical language. When Lechner wrote his Passion, the duchy was at a crossroads, balancing religious tradition and a more secular, modern future. On the one hand, over the 1500s, secularization occurred within the duchy's political, religious, and musical institutions. On the other hand, Württemberg's acceptance of Lutheranism in 1534 also shaped the duchy's culture. Additionally, despite its vehement anti-Catholic rhetoric and actions, Württemberg retained some of its long-standing Catholic religious and musical practices after its conversion to Lutheranism. Württemberg's dichotomous culture-a blend of secular, as well as Catholic and Lutheran influences-affected both the duchy's musical culture and Lechner's composition.
The second chapter explores how Württemberg's societal changes, the history of the Passion genre, and Lechner's biography influenced specific musical devices in Lechner's Passion setting. Throughout the work, Lechner seems to use incongruous compositional language-the work not only boasts forward-looking expressive devices, such as text painting, but also incorporates compositional devices typically associated with older Catholic Passion settings. Lechner's setting of Biblical texts in the German vernacular, however, reflects the principles of the Reformation, as well as Württemberg's acceptance of Lutheranism. As the essay traces Lechner's use of text and text setting, expressive devices, and Passiontons throughout each of the piece's five movements, Lechner's musical language is understood to be a product of the Passion idiom, his personal faith, and sixteenth-century culture.
While the first two chapters primarily focus on the relationship between Württemberg's culture and Lechner's musical language, the final chapter deals with the influence of Lechner's Passion, which has a bipartite legacy. In part, Lechner's Passion was summative because it is one of the last motet Passion settings, a subgenre that quickly disappeared due to the rise in popularity of instrumental music. Few motet Passions were composed after Lechner's; however, his work did influence later compositions, including pieces by Heinrich Schütz (1585-1672), Hugo Distler (1908-1942), and Kurt Thomas (1904-1973). It is significant that Lechner's Passion not only influenced Schütz, perhaps the greatest seventeenth-century Lutheran composer, but was also admired centuries later by twentieth-century composers.
The approach of this essay recognizes that no work of art is created in a vacuum and therefore seeks to explore how cultural factors influenced the composition of Lechner's Passion. Lechner's dichotomous compositional language is an outgrowth of sixteenth-century Württemberg's culture, the history of the Passion idiom, and his own biography. As the essay progresses from the piece's social framework to its historical implications, Lechner's Passion is framed as both a product of its time and a model for future compositions. This essay therefore provides a more comprehensive perspective of Lechner's Passion than what previous musical analyses have offered.
5
Wong, Hock-wei Wendy, und 黃學慧. „Containing the German within: the unpublishedpiano works of Dohnanyi Erno“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37366889.
Der volle Inhalt der Quelle
6
Chan, Chor-shan Sharon, und 陳楚珊. „Neither here nor there: the dramatic tension between the spoken word and music performance in Igor Stravinsky'sOedipus rex (1927)“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199540.
Der volle Inhalt der QuelleAnnotation:
Stravinsky’s opera-oratorio Oedipus Rex was based on Sophocles’ classic tragedy
Oedipus Tyrannus. Jean Cocteau wrote the libretto for Stravinsky in French, the
text was then translated into Latin. Le speaker speaking in the audience’s native
language with a detached voice is added to the opera-oratorio to narrate the events
of the story throughout. With its mixed genres, the juxtaposition of the dead
language and the vernacular, the contrast of the spoken word and the music
performance, and the intertexual references in the music, a strong dialectical
tension is created.
This study is a critical review of the narrative mode of Stravinsky’s Oedipus Rex.
For a very long time, literature on Oedipus Rex has mainly focused on the
presentation of its music. However, as an opera-oratorio, Oedipus Rex is
composed to stage. This study aims at investigating the theatrical significance of
the work, for its theatrical presentation is influential and profound in 20th century
music theatre. Of particular note is the use of le speaker. The narration inserted in
between each musical episode creates a sense of ambivalence in the storytelling.
The work is therefore a bold challenge to the way stories have been told in theatre
over the past centuries.
The discussion concludes with the analysis of Julie Taymor and Seiji Ozawa’s
film version of Oedipus Rex in 1992. With Japanese elements infused in the work,
the dramatic tension between the spoken word and the music performance is
further polarised. This production is an example of how a combination of the
spoken word and the music performance pushes the Oedipus story further away
from Sophocles’ original.published_or_final_version
Music
Master
Master of Philosophy
7
Johnson, Stephen. „Hecate nocturne : for large orchestra“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99173.
Der volle Inhalt der QuelleAnnotation:
With Hecate Nocturne, I set out to create a unified piece of substantial length. The piece features certain sounds of British Columbia---birds, animals, wind, water, machinery, and folksong; their musical depictions represent a growing interest of mine, one which was expanded significantly in this piece.The primary goal of the thesis is a close interconnection of all musical material, at all levels; that a limited pool of material could produce, through motivic development, all the components of the piece, from small to large. The secondary goal is to give the music a "sense of place" through depictions of natural sounds occurring---in this case---in British Columbia. The tertiary goal is to write musical returns, or recapitulations, that are always significantly altered from their original presentations, to give the piece a feeling of consequence or alteration. This last goal arises from the aesthetic application of some of the composer's philosophical beliefs.
8
Ross, Gordon. „Popular music analysis“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.
Der volle Inhalt der Quelle
9
Von, Holtzendorff Peter. „A parametric integration model for the analysis of late Baroque music : a tentative approach“. Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20185.
Der volle Inhalt der QuelleAnnotation:
In four pieces selected from the late Baroque repertoire, the "Allemanda" from Corelli's Sonata for Violin and Continuo, Opus 5, No. 8, the "Allemande" from Bach's Clavierubung, Partita, No. 1, the chorus, "Thy Right Hand, Oh Lord" from Handel's Israel in Egypt, and the aria duetto, "Mein Freund ist Mein" from Cantata No. 140, Wachet Auf, by Bach, harmonic, melodic and motivic parameters are analysed and graphed so that their integration in each work is readily observable. Then, in an attempt to establish more general formal models similar to those developed by Arnold Schoenberg, Erwin Ratz, and William E. Caplin for the classical style, recurring patterns of integration are noted. Of special significance is the prominence of acceleration processes in each piece and their diversity, both in the parameters involved, as well as in the structural levels on which these processes operate.
10
Wolf, Motje. „The appreciation of electroacoustic music : an empirical study with inexperienced listeners“. Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/8680.
Der volle Inhalt der QuelleAnnotation:
The research contained within this PhD project forms part of the Pedagogical ElectroAcoustic Resource Site project of the Music, Technology and Innovation Research Centre of De Montfort University Leicester. This thesis contributes to current research in music education and musicology related to electroacoustic music. The purpose of this research was to investigate the influence of teaching on the change in inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to introduce electroacoustic music to 11 to 14 year old students (Key Stage 3). The curriculum was based on concepts distinguishing between electroacoustic music using (mainly) real-world sounds and generated sounds. The curriculum is presented in an online learning environment with an accompanying teacher’s handbook. The learning environment represents the prototype for the pedagogical ElectroAcoustic Resource Site offering online learning, blended learning and classroom-based learning. The website was developed following user-centred design; the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester. In five lessons music using real-world sounds (soundscape and musique concrète) was introduced, which included the delivery of a listening training, independent research and creative tasks (composition or devising a role-play). The teaching design followed the methods of active, collaborative and self-regulated learning. Data was collected by using questionnaires, direct responses to listening experiences before and after the teaching, and summaries of the teaching written by the participants. Following a Qualitative Content Analysis, the results of the study show that the participants’ appreciation of electroacoustic music changed during the course of these lessons. Learning success could be established as well as a declining alienation towards electroacoustic music. The principal conclusion is that the appreciation of electroacoustic music can be enhanced through the acquiring of conceptual knowledge, especially through the enhancing of listening skills following the structured listening training as well as the broadening of vocabulary to describe the listening experience.
Bücher zum Thema "Passion music Analysis, appreciation"
1
Die Matthäus-Passion von Johann Sebastian Bach: Entstehung, Werkbeschreibung, Rezeption. München: Deutscher Taschenbuch Verlag, 1991.
Den vollen Inhalt der Quelle finden
2
"Die sieben Worte am Kreuz" bei Schütz und Haydn: Vorgetragen am 13. Januar 1984. München: Verlag der Bayerischen Akademie der Wissenschaften, 1986.
Den vollen Inhalt der Quelle finden
3
Scholz, Gottfried. Bachs Passionen: Ein musikalischer Werkführer. München: C.H. Beck, 2000.
Den vollen Inhalt der Quelle finden
4
Jena, Günter. "Das gehet meiner Seele nah": Die Matthäuspassion von Johann Sebastian Bach. Freiburg i. Br: Herder, 1999.
Den vollen Inhalt der Quelle finden
5
Bach's St. Matthew Passion: A closer look. New York: Continuum, 2008.
Den vollen Inhalt der Quelle finden
6
Rallo, Elisabeth. Opéras, passions. Paris: Presses universitaires de France, 2001.
Den vollen Inhalt der Quelle finden
7
Rallo, Elisabeth. Opéras, passions. Paris: Presses universitaires de France, 2001.
Den vollen Inhalt der Quelle finden
8
Geck, Martin. Johann Sebastian Bach: Mit Selbstzeugnissen und Bilddokumenten. Reinbek bei Hamburg: Rowohlt, 1993.
Den vollen Inhalt der Quelle finden
9
Geck, Martin. Johann Sebastian Bach: Johannespassion : BWV 245. München: W. Fink, 1991.
Den vollen Inhalt der Quelle finden
10
Geck, Martin. Bach: Leben und Werk. Reinbek: Rowohlt, 2000.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Passion music Analysis, appreciation"
1
Palma-Martos, María Luisa, Manuel Cuadrado-García und Juan D. Montoro-Pons. „Breaking the Gender Gap in Rap/Hip-Hop Consumption“. In Music as Intangible Cultural Heritage, 51–65. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_5.
Der volle Inhalt der QuelleAnnotation:
AbstractSome music genres have traditionally and mainly been consumed by men. This is the case of rap/hip-hop. However, data on the consumption of this genre in recent years shows a relevant increase in the number of women interested in this type of music. It would therefore seem to be pertinent to analyse this new trend, not only as a question linked to gender studies but also to marketing decision-making for the music industry, which is struggling to attract new audiences, a factor compounded in the pandemic. To frame this analysis, literature on music consumption, specifically in relation to gender and rap as an alternative music genre, has been reviewed from different approaches. An exploratory survey was conducted to obtain an insight into rap/hip-hop consumption and appreciation by gender. Results show that rap concert attendees’ satisfaction and interest in this kind of music are high, irrespective of gender. Only knowledge, which has not been as extensively studied, seems to be different between men and women, with this factor being slightly higher for the former. In addition, the identification of three clusters (involved, apathetic and hedonists), including both women and men, leads us to suggest that the gender gap in rap/hip-hop consumption is closing.
2
Cassidy Parker, Elizabeth. „Interlude“. In Adolescents on Music, 173–74. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190671358.003.0021.
Der volle Inhalt der QuelleAnnotation:
In my life music has been a source of enjoyment, an expression of worship, an outlet for emotions, and a way to connect with others. I’ve always had a deep appreciation for music. When I was 7 or 8 years old, my dad bought me and my younger sister a guitar for Christmas. Playing short melodies on the half-size acoustic guitar I received for Christmas that year was my first experience playing an instrument. My father plays guitar, so my sisters and I grew up surrounded by music. As I continued to explore my interest in music, I realized that I had a passion for singing. I decided to take freshman choir in high school, and halfway through my freshman year, I started taking private voice and piano lessons....
3
Boczkowski, Pablo J. „Entertainment“. In Abundance, 125–64. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565742.003.0005.
Der volle Inhalt der QuelleAnnotation:
Chapter 5 focuses on the reception of entertainment. The survey reveals that the top three entertainment activities among the respondents are watching television, listening to music, and being on social media, in that order, and that age is the preeminent organizer of entertainment consumption. The interviews show the continued relevance of routines in reception practices, and highlight the versatility of watching television. This versatility applies to how people access the content; the devices through which they watch it; with whom they do this; and the habits associated with this experience. This versatility contrasts with the perceived rigidity of going to the movies, watching a play, and visiting a museum. The affect related to consuming audiovisual entertainment within the household is overwhelmingly positive, and there is a high level of attachment to serialized content on streaming platforms. The analysis shows an experiential appreciation of audiovisual entertainment content on television.
4
Leong, Daphne. „Reception and Structure“. In Performing Knowledge, 332–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.003.0011.
Der volle Inhalt der QuelleAnnotation:
This chapter discusses the results of an experiment testing audience response to Robert Morris’s Clear Sounds among Hills and Waters (1989, revised 2013), for solo piano, under five different preparatory conditions: simple identification (ID), program note (PN), aesthetic/visual introduction by the composer on video (AES), structural/aural introduction by the composer on video (STR), and the combination of all of the preceding (CMB). Qualitative analysis of responses suggested that preparations ID, STR, PN, AES, and CMB, in that order, were increasingly beneficial for audience appreciation and understanding. The piece’s context and meaning needed to be explained before structural information could be employed effectively. The combination of aesthetic with structural information was more helpful than either alone. Indirect knowledge about the piece must translate into direct knowledge for greater impact. The chapter then explores broader issues implicated in audience reception of new music: characteristics of the listener, social and cultural factors, and features of the musical language, described by analogy to phonetics, morphology, syntax, and semantics. Stimuli for the experiment, including Leong’s performance of Clear Sounds on video, may be found online.
5
Hobbs, Renee, Liz Deslauriers und Pam Steager. „Creating“. In The Library Screen Scene, 67–102. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190854317.003.0003.
Der volle Inhalt der QuelleAnnotation:
Authorship is a fundamental impulse that’s rooted in the value of “telling your own story.” When people engage in practices of creating media, they deepen their understanding of the constructed nature of all forms of media and can shift their identity in important ways. As people gain confidence in self-expression and recognize the value and power of using communication to address community and national social and cultural issues, they take on the role of active citizens in a democratic society. The library has always been a source of inspiration for people who want to make things as well as a community hub where people can come to learn, create, and explore possibilities. Makerspaces and media centers can support the mission of the library. Many academic librarians have made a deep commitment to supporting student media creation as a dimension of their academic work. And whether it’s to explain library services, document a community event or history, or market the library, when school librarians are themselves digital authors, they often have a broader, deeper appreciation of the creative process and recognize the potentially transformative impact that such learning experiences can have. Creating media can be important for advancing self-expression and learning, but it is also a time-honored way to deepen media analysis skills. Getting the balance between creative freedom and creative restraint in media production can be challenging, but from creating storyboards, book trailers, or parody music videos to documentary filmmaking, creating media in the library can reap multiple benefits and can prove that it’s through creating and collaborating that people of all ages learn best.
Konferenzberichte zum Thema "Passion music Analysis, appreciation"
1
Kakegawa, Mayu, Ryo Komiyama, Yuko Masakura und Masayuki Kikuchi. „Analysis of music appreciation by Kansei evaluation and brain activity“. In 2012 Joint 6th Intl. Conference on Soft Computing and Intelligent Systems (SCIS) and 13th Intl. Symposium on Advanced Intelligent Systems (ISIS). IEEE, 2012. http://dx.doi.org/10.1109/scis-isis.2012.6505407.
Der volle Inhalt der Quelle