Relevant bibliographies by topics / Doctor of Musical Arts

Academic literature on the topic 'Doctor of Musical Arts'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Doctor of Musical Arts"

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Demchenko, Alexander I. "The Musical Legacy of Igor Stravinsky." ICONI, no. 2 (2019): 137–48. http://dx.doi.org/10.33779/2658-4824.2019.2.137-148.

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The lecture of Doctor of Arts, Professor Alexander Demchenko illuminates in a concise way the evolution of the music of the outstanding composer, the main stages of which correspond with the three sections of this text: “Igor Stravinsky of the Russian period,” “Igor Stravinsky’s Neoclassicism” and “The Late Works of Igor Stravinsky.” The exposition of the topics includes listening to a number of musical fragments meant to give a general perception of the range of the composer’s artistic endeavors. The publication is addressed to students of conservatories and artistic institutions of higher education.
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Demchenko, Alexander I. "The Musical Oeuvres of Nikolai Myaskovsky." ICONI, no. 4 (2019): 91–110. http://dx.doi.org/10.33779/2658-4824.2019.4.091-110.

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This lecture of Doctor of Arts, Professor Alexander I. Demchenko continues the cycle of lectures on Russian musical culture. In a maximally compact form the evolution of the musical oeuvres of composer Nikolai Ya. Myaskovsky is elucidated, the basic stages of which correspond to two sections of the text: “The 1910s and 1920” and “The 1930s and 1940s.” Just as in the previous cases, the exposition of the material presumes listening to a number of musical fragments, called upon to provide a general impression of the ranger of the composer’s artistic endeavors.
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Demchenko, Alexander I. "The Musical Oeuvres of Dmitri Shostakovich." ICONI, no. 1 (2020): 95–107. http://dx.doi.org/10.33779/2658-4824.2020.1.095-107.

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This lecture of Doctor of Arts, Professor Alexander Demchenko illuminates in a maximally compact form the evolution of the music of the great composer, the main stages of which are corresponded to by the respective sections of the present text: “Early Works,” “Middle Period” and “Late Works,” which is supplemented by generalizations contained in the sections “The Issue of Humanism” and “The Artistic Constants.” The expounding of the lecture will be accompanied by listening to a number of fragments designed to give an overall impression of the range of the composer’s artistic quests.
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Demchenko, Alexander I. "The Musical Legacy of Sergei Rachmaninoff." ICONI, no. 1 (2019): 198–210. http://dx.doi.org/10.33779/2658-4824.2019.1.198-210.

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“The musical legacy of Sergei Rachmaninoff” — this is the first lecture from the authorial cycle of Doctor of Arts, Professor Alexander Demchenko “The Classics of 20th Century Russian Music.” Its following sections will be dedicated to such composers as Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian, Georgiy Sviridov, odion Shchedrin and Alfred Schnittke. The lecture is supposed to include listening to a number of musical fragments chosen to give a general perception of the range of the composer’s artistic explorations. The preferential performance versions and durations of the corresponding musical fragments are given. The publication of the lecture is addressed to students and faculty members of conservatories, artistic institutions of higher education, as well as music colleges and high schools.
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Demchenko, Alexander I. "The Musical Legacy of Sergei Prokofiev." ICONI, no. 3 (2019): 96–111. http://dx.doi.org/10.33779/2658-4824.2019.3.096-111.

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The lecture of Doctor of Arts, Professor Alexander Ivanovich Demchenko elucidates the evolution of the music of the outstanding composer the main stages of which correspond to the three sections of the present text: “Prokofiev of the Beginning of the Century,” “Prokofiev of the Middle of the Century” and “The Constants of the Musical Style of Prokofiev.” Characterizations are given of the most significant compositions in the context of the culture and the musical language of the 20th century and the musical language of the composer-reformer, as well as to the system of images and genres. The exposition of the lecture has the prerequisite of listening to a set of musical fragments called upon to form a general perception of the range of the composer’s artistic quests.
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Draper, Paul, and Scott Harrison. "Beyond a Doctorate of Musical Arts: Experiences of its impacts on professional life." British Journal of Music Education 35, no. 3 (June 13, 2018): 271–84. http://dx.doi.org/10.1017/s0265051718000128.

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There is much dialogue in the academy about the role of doctoral studies in relation to employment, career trajectories and graduate outcomes. This project explores the experiences of Doctor of Musical Arts (DMA) graduates and students at the Queensland Conservatorium in Australia to reveal how the programme has impacted upon their professional activities, while also addressing assumptions promulgated through the literature on artistic practice and research education. The paper presents emergent themes and concludes by offering insights into artistic research in music more broadly.
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Jones, Patrick M. "The Doctor of Musical Arts in Music Education: A Distinctive Credential Needed at This Time." Arts Education Policy Review 110, no. 3 (April 2009): 3–8. http://dx.doi.org/10.3200/aepr.110.3.3-8.

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Diago Jiménez, José María. "La meloterapia en el pensamiento y la obra de Isidoro de Sevilla." Anuario Musical, no. 74 (December 18, 2019): 19. http://dx.doi.org/10.3989/anuariomusical.2019.74.02.

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Isidoro de Sevilla (ca. 565-633), Padre y Doctor de la Iglesia, es considerado uno de los más grandes enciclopedistas de la Antigüedad tardía y la Alta Edad Media. Entre los muchos temas que trató se encuentra la música y, dentro de esta, el poder medicinal o sanador de la misma, temática que gozó de una gran tradición literaria en la Antigüedad clásica debido, en gran parte, a la difusión de sus profundas raíces filosófico-musicales, fundamentalmente de índole pitagórica y platónica. En este artículo se localizan y analizan por primera vez todas las reflexiones isidorianas sobre este tema distribuidas por varias obras del obispo hispalense. Para ello se partirá de la tradición clásica y patrística de la que proceden, teniendo en cuenta también el resto del pensamiento musical isidoriano.
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Зенкин, К. В., and В. Р. Дулат-Алеев. "Konstantin Zenkin: "The Russian mentality is such that authority is a key position for him."." Научный вестник Московской консерватории, no. 1(28) (March 20, 2017): 8–17. http://dx.doi.org/10.26176/mosconsv.2017.28.1.01.

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В 2013 году в Санкт-Петербурге и в 2015 году в Москве состоялись I и II международные конгрессы Общества теории музыки. В работе этих представительных научных собраний приняли участие музыковеды изразных городов России, а также зарубежные специалисты (из Австралии, Австрии, Беларуси, Болгарии, Бразилии, Германии, Дании, Италии, Казахстана, Канады, Польши, США, Туркмении, Франции, Швейцарии). В сентябре 2017 года в Московской консерватории состоится III Международный конгресс музыкально-теоретического сообщества, в преддверии которого мы предлагаем вниманию читателей беседу с одним из организаторов и постоянных участников форума — проректором по научной работе Московской государственной консерватории имени П. И. Чайковского, доктором искусствоведения, профессором Константином Зенкиным. Вопросы задает доктор искусствоведения, профессор Казанской государственной консерватории имени Н. Г. Жиганова Вадим Дулат-Алеев. In 2013 in St. Petersburg and in 2015 in Moscow the I and II International Congresses of the Society for Theory of Music were held. Musicologists from different cities of Russia, as well as foreign experts (from Australia, Austria, Belarus, Bulgaria, Brazil, Germany, Denmark, Italy, Kazakhstan, Canada, Poland, USA, Turkmenistan, France, Switzerland) took part in these representative scientific meetings. In September 2017, the Moscow Conservatory will host the III International Congress of the musical-theoretical community, on the eve of which we offer our readers a conversation with one of the organizers and permanent participants of the forum, Deputy Rector for Research of the Tchaikovsky Moscow State Conservatory, Doctor of Fine Arts, Professor Konstantin Zenkin. Questions are asked by Vadim Dulat-Aleev, Doctor of Fine Arts, Professor of the Zhiganov Kazan State Conservatory.
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Podguzova, O. A. "SERGEY YAKOVENKO: HE KNEW HOW TO EMBRACE THE IMMENSITY." Arts education and science 1, no. 3 (2020): 173–82. http://dx.doi.org/10.36871/hon.202003021.

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The article is dedicated to the famous singer and teacher, Doctor of Arts Sergey Borisovich Yakovenko. It presents selected pages of the master's life, his performing activity, tells about the musician's creative contacts with representatives of Russian culture of the second half of the XXth – early XXIst centuries. The first performer of many modern vocal works, monooperas, cantatas and oratorios, outstanding and little-known works of world music, romances and songs by Soviet composers, S. B. Yakovenko is also a major figure in science, education and musical enlightenment. His research focuses on a wide range of issues related to vocal creativity, performance interpretation and singing traditions. The article also presents the basic pedagogical principles of the musician. The publication contains the material from one of the last works of S. B. Yakovenko "Three Hundred Years Without a Director", which never saw the light. It is devoted to the history of musical theater, the role of director, conductor and composer in it. The source for this research were the books of the prominent singer and teacher, articles about his work, personal conversations of the author with S. B. Yakovenko.
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Dissertations / Theses on the topic "Doctor of Musical Arts"

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Severn, Edwin Philip. "Doctor of musical arts in performance critical commentary." Thesis, University of Salford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.537556.

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Cameron-Caluori, George. "Philosophy and musical criticism." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5314.

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Métois, Eric. "Musical sound information : musical gestures and embedding synthesis." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/29125.

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Horowitz, Damon Matthew. "Representing musical knowledge." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/61530.

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Porter, Alastair. "Evaluating musical fingerprinting systems." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=117191.

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Audio fingerprinting is a process that uses computers to analyse small clips of music recordings to answer a common question that people who listen to music often ask : "What is the name of that song I hear ?" Audio fingerprinting systems identify musical content in audio and search a reference database for recordings that contain the same musical features. These systems can find matching recordings even when the query has been recorded in a public space and contains added noise. Different audio fingerprinting algorithms are better at identifying different types of queries, for example, queries that are short, or have a large amount of noise present in the signal. There are few comprehensive comparisons of fingerprinting systems available in the literature that compare the retrieval accuracy offingerprinting systems with a wide range of querys.This thesis presents an overview of the historical developments in audio fingerprinting, including an analysis of three state-of-the-art audio fingerprinting algorithms. The thesis introduces factors that must be considered when performing a comparative evaluation of many fingerprinting algorithms, and presents a new evaluation framework that has been developed to address these factors. The thesis contributes the results of a large-scale comparison between three audio fingerprinting algorithms, with an analysis recommending which algorithms should be used to identify music queries recorded in different situations.
Le système d'empreinte audio est un procédé qui analyse de courts extraits de musique avec un ordinateur pour répondre à une question courante: « Quelle est le nom de cette chanson que j'écoute? ». Les systèmes d'empreintes audio identifient le contenu musical d'un enregistrement et cherchent des documents sonores possédant les même traits musicaux au sein d'une base de données de référence. Ces systèmes sont capables de fonctionner même si les requêtes qui leur sont transmises sont enregistrées dans un espace public, avec de nombreuses sources de bruit extérieur. Les différents algorithmes d'empreinte audio se distinguent par le type de requête qu'ils peuvent traiter: certains se concentrent sur des requêtes de courte durée, d'autres sont optimisés pour pouvoir être performant même dans des conditions de bruit très défavorables. Dans la littérature, il existe peu d'études comparatives poussées traitant spécifiquement des performances des systèmes de reconnaissance par empreinte audio dans un large éventail de cas.Cette thèse présente une vue d'ensemble de l'histoire du développement des systèmes d'empreinte audio. Cette thèse introduit en suite des facteurs qui doivent être pris en compte lors de l'évaluation comparative de plusieurs algorithmes pour la reconnaissance par empreinte audio. De plus, ce travail présente un nouveau cadre d'évaluation développé afin d'incorporer ces facteurs. Cette thèse combine les résultats d'une comparaison à grande échelle de trois algorithmes d'identification d'empreinte audio avec une analyse recommandant lequel de ces algorithmes est le plus efficace pour identifier la plus grande variété d'extraits audio.
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Troyer, Akito van. "Score instruments : a new paradigm of musical instruments to guide musical wonderers." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/120882.

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Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, February 2018.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 167-190).
Advancements in technology have made musical instruments, especially electronic instruments, accessible to the masses. As a result, music-making has become more widespread and convenient. However, the blackboxing practices of commercial Digital Musical Instruments (DMIs) have conditioned many users to produce only specific styles of music. Furthermore, as many of these commercial instruments produce sound through loudspeakers, rather than the body of the instrument, players lose the physical and tactile connection to sound and music. Consequently, these DMIs inhibit understanding of the relationship between musicality and our everyday physical world, and cut players off from exploring a more extensive range of musical possibilities. Despite the multiplication of music-making tools, music-making practices still operate on the same principles. The production of music requires instruments to generate organized physical sound energies that follow the schema of a score. This dissertation studies a new class of Interactive Music Systems (IMSs) called Score Instruments that embed both instrument and score into a single unified interface. Score Instruments reopen the range of possibilities offered by everyday sounds and objects as musical bricolage tools to bring players into a personalized, guided, and open-ended use of the instrument. Players of Score Instruments are called Musical Wonderers, as the instruments encourage them to focus on exploration to build their own musical language, rather than on the technically correct realization of music. The dissertation describes the concept of Score Instruments. Two instances of Score Instruments demonstrate how the techniques and criteria translate into specific IMSs. City Symphonies is a massive musical collaboration platform that encourages players to listen to their cities and create music with environmental sounds. MM-RT is a tabletop tangible musical instrument that employs electromagnetic actuators and small permanent magnets to physically induce sounds with found objects. Both projects exemplify how Score Instruments can simultaneously stimulate open creativity and provide meaningful direction and constraints that guide users to learn underlying principles about music and the physical world. The design investigations and historical perspective of this dissertation offer a future of music-making practice that is based on exploration and designed to broaden the definition and variety of music.
by Akito van Troyer.
Ph. D.
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Albawardy, Reema. "Costume Designs for "Urinetown| The Musical"." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599645.

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Urinetown: The Musical by Greg Kotis and Mark Hollman was produced by the Department of Theatre and Dance at George Washington University in the Fall of 2014. The show opened on October 30, 2014 at the Dorothy Betts Marvin Theatre, part of the George Washington University in Washington DC. It was directed by Muriel Von Villas along with costume designer Reema Albawardy, lighting designer Carl Gudenius, and set designer Kirk Kristlibas. This thesis explores the costume design process for Urinetown: The Musical and the challenges of working with a large cast and dealing with many quick changes.

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Rosenbaum, Eric (Eric Ross). "Explorations in musical tinkering." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/97970.

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Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2015.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 171-174).
This thesis introduces the idea of "musical tinkering," exploring how to engage people in playfully creating and experimenting with their own musical instruments and compositions. I discuss the design and study of two new tools for musical tinkering, MelodyMorph and MaKey MaKey. MelodyMorph is an iPad app for making musical compositions on the screen. MaKey MaKey is an invention kit that lets you transform everyday objects into physical-digital musical instruments. Two themes of musical tinkering, the loop and the map, are woven throughout this thesis. Loops are feedback processes. They range in scope from rapid iterative design, through interpersonal interaction and creative emergence, to longer-term personal transformation. Maps are active visualizations. We use them to externalize our thought processes, and we fluidly manipulate them as we tinker, linking graphical or tangible symbols to musical sounds. I use loops and maps as the basis for design concepts for musical tinkering tools and to analyze musical tinkering as a learning process. I present case studies of middle school students tinkering as they use MelodyMorph to compose musical stories, reconstruct tunes from video games, and make musical cartoons. I also present case studies of MaKey MaKey, showing how people have used it to tinker with music "in the wild," in my own workshops, and in the work of other educators. Through these case studies I characterize musical tinkering using the concepts of musical landscape-making, musical backtalk, and musical inquiry. I show that loops and maps intertwine in the processes of collaborative emergence, inventing new maps for new instruments, and tinkering with musical ideas and musical attitudes. Finally, I conclude with visions for remaking the landscape of musical tinkering in the future.
by Eric Rosenbaum.
Ph. D.
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Holbrow, Charles J. "Hypercompression : stochastic musical processing." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/101838.

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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2015.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages [66]-70).
The theory of stochastic music proposes that we think of music as a vertical integration of mathematics, the physics of sound, psychoacoustics, and traditional music theory In Hypercompression, Stochastic Musical Processing we explore the design and implementation of three innovative musical projects that build on a deep vertical integration of science and technology in different ways: Stochastic Tempo Modulation, Reflection Visualizer, and Hypercompression. Stochastic Tempo Modulation proposes a mathematical approach for composing previously inaccessible polytempic music. The Reflection Visualizer introduces an interface for quickly sketching abstract architectural and musical ideas. Hypercompression describes new technique for manipulating music in space and time. For each project, we examine how stochastic theory can help us discover and explore new musical possibilities, and we discuss the advantages and shortcomings of this approach.
by Charles J. Holbrow.
S.M.
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Ollivier, Michèle. "M'entendez-vous? : essai de sociologie du langage musical." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5298.

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Books on the topic "Doctor of Musical Arts"

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Mark, Stammers, and Walker Stephen James, eds. Doctor Who. London: Doctor Who, 1996.

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Mark, Stammers, ed. Doctor Who. London: Doctor Who Books, 1996.

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Doctor Who: Seventies. London: Doctor Who Books, 1995.

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Mark, Stammers, and Walker Stephen James, eds. Doctor Who: The seventies. London: Virgin, 1994.

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Howe, David J. Doctor Who: A book of monsters. Parkwest, N.Y: BBC Books, 2000.

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William, Fleming. Musical arts & styles. Gainesville, FL: University of Florida Press, 1990.

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Frank, Macomber, ed. Musical arts & styles. Gainesville: University of Florida Press, 1990.

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Mark, Stammers, and Walker Stephen James, eds. Doctor Who: The handbook. : the Patrick Troughton years, 1966-1969. London: Doctor Who, 1997.

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Ekstrom, Peter. Doctor! Doctor!: A medical musical comedy revue. New York: S. French, 1998.

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Taylor, Stephen Andrew. The Lamento motif: Metamorphosis in Ligeti's late style : a dissertation presented to the Faculty of the Graduate School of Cornell University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, May 1994. Ann Arbor, Mich: UMI Dissertation Services, 1999.

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Book chapters on the topic "Doctor of Musical Arts"

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Emmerson, Stephen. "“No Two are the Same”: A Narrative Account of Supervising Two Students Through a Doctor of Musical Arts Program." In Research and Research Education in Music Performance and Pedagogy, 181–96. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_13.

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Wright, Bruce, and E. Paul Zehr. "Doctor Strange, Master of the Medical and Martial Arts." In Doctor Strange and Philosophy, 207–16. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781119437901.ch19.

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Loth, Helen. "Transposing musical cultures in music therapy." In Intercultural Arts Therapies Research, 75–90. Abingdon, Oxon; New York, NY: Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315726441-5.

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Moyer, Ann E. "Music, Mathematics, and Æsthetics: the Case of the Visual Arts in the Renaissance." In Epitome musical, 111–46. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.em-eb.3.3282.

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Idamoyibo, Atinuke Adenike, and Emily Achieng’ Akuno. "Systematic instruction for musical arts education." In Music Education in Africa, 249–61. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Routledge studies in music education: Routledge, 2019. http://dx.doi.org/10.4324/9780429201592-16.

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Clough, Nick, and Jane Tarr. "CM 16: MUSICAL ELEMENTS." In Addressing Issues of Mental Health in Schools through the Arts, 290–92. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429032172-11p.

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Clough, Nick, and Jane Tarr. "CM 24: MUSICAL IMPROVISATION." In Addressing Issues of Mental Health in Schools through the Arts, 314–16. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429032172-11x.

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Hebert, David G. "Ensemble Ethos: Theorizing Cultures of Musical Achievement." In Landscapes: the Arts, Aesthetics, and Education, 251–57. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2178-4_17.

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Lipten, David. "Semiotics and Musical Choice: “Beyond Analysis” Revisited." In The Aesthetic Discourse of the Arts, 105–42. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-011-4263-2_7.

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Block, Elaine C., and Frédéric Billiet. "Musical Comedy in the Medieval Choir: England." In Profane Arts of the Middle Ages, 209–30. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.pama-eb.3.873.

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Conference papers on the topic "Doctor of Musical Arts"

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MORENO ALBORS, MARC. "USO DE NUEVAS GRAFÍAS MUSICALES POR PARTE DE LOS COMPOSITORES ACTUALES: LA OBRA SKIN’S TRACES COMO EJEMPLO DE NOTACIÓN NO CONVENCIONAL." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4866.

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Uno de los capítulos más importantes de mi tesis doctoral “La multipercusión en España desde el ámbito musical al arte sonoro. Evolución histórica y su aplicación práctica interpretativa-performativa” (actualmente en proceso por la Universitat Politècnica de València), es el dedicado a la aparición y desarrollo de nuevos recursos de notación musical. Históricamente la partitura ha servido de medio de transmisión entre las ideas del compositor y el intérprete. Pero éstas han sufrido un largo camino de evolución, lo cual confiere a la partitura un valor plástico que va más allá de su funcionalidad práctica. La música y las artes plásticas confluyen en el siglo XX: los artistas visuales trabajan con el sonido de igual manera que los músicos introducen recursos visuales en sus obras. Ejemplo del uso del dibujo, la mancha y la línea como instrumento de representación sonora es la obra Skin’s Traces (2006) del compositor Juanjo Eslava (Gijón,1970). En esta composición para frame-drum (pandero) y electrónica, el intérprete deberá descifrar el código que representa la idea sonora dibujada y convertir las grafías lineales en sonidos utilizando la percusión. Las diversas procedencias de los diferentes elementos que conforman esta obra (instrumento árabe, grafías japonesas, software europeo) le otorgan un carácter global e integrador, lo cual caracteriza a gran parte de las composiciones para percusión contemporáneas.Mi tesis doctoral utiliza una metodología basada en la investigación desde la práctica. Por lo tanto mostraré ejemplos de integración de teoría y práctica dentro de la interpretación musical, ofreciendo en vivo para esta comunicación algunas pautas para transformar las grafías en movimiento y sonidos.http://dx.doi.org/10.4995/ANIAV.2017.4866
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Santana, Charles de Paiva, Jônatas Manzolli, Jean L. Bresson, and Moreno Andreatta. "Towards a Borgean Musical Space: An Experimental Interface for Exploring Musical Models." In Electronic Visualisation and the Arts (EVA 2015). BCS Learning & Development, 2015. http://dx.doi.org/10.14236/ewic/eva2015.8.

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Bajunid, Siti Arsalaan, and Rizal Ezuan Zulkifly Tony. "Fazil Say and His Musical Identity: Musical Embellishments in “Black Earth”." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008562502280233.

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Rebelo, Pedro Pinto, and Robert King. "Anticipation in networked musical performance." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.7.

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Ho, Wen-Shing. "Invention of Musical Notation Applying the Musical Notation to the Cinematic Art Language." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.31.

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Soraghan, Sean, Alain Renaud, and Ben Supper. "A Perceptually Motivated Visualisation Paradigm for Musical Timbre." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.11.

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Yakoupov, Alexander. "The Structure of Musical Communication." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.56.

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Core, Cristina, Andrea Conci, Antonella De Angeli, Raul Masu, and Fabio Morreale. "Designing a Musical Playground in the Kindergarten." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/hci2017.41.

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Ribas, Rafael. "CONTRACULTURA MUSICAL BRASILEIRA EM TEMPOS DE DITADURA." In VIII World Congress on Communication and Arts. Science and Education Research Council (COPEC), 2015. http://dx.doi.org/10.14684/wcca.8.2015.360-363.

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Huang, Jincheng. "Wang Xilin-Chinese Shostakovich. Research on Wang Xilin's Musical Life and Musical Achievements." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.36.

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