Relevant bibliographies by topics / Media music

Academic literature on the topic 'Media music'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Media music"

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Sapalakkai, Rini Sumanti, Fransiskus Irwan Widjaja, and Fredik Bouliu. "Musik sebagai Media di Ladang Misi." PROSIDING PELITA BANGSA 1, no. 2 (February 4, 2022): 111. http://dx.doi.org/10.30995/ppb.v1i2.508.

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Music functions as a communication tool to reach the soul by proclaiming the truth of God's word. Music has a very helpful role in evangelism through songs that are created, sung as a testimony to true stories in the lives of believers who declare that Jesus is Lord and Savior. This study aims to discuss music as the spearhead of the mission field. The method used in this research is a literature study approach, carried out by collecting data relevant to the topic or problem in this research. The results of this study will describe music as a medium of worship, music as a medium for preaching God's word, and music as the spearhead of harvesting the mission field. AbstrakMusik berfungsi sebagai alat komunikasi untuk menjangkau jiwa dengan memberitakan kebenaran firman Tuhan. Musik memiliki peran yang sangat membantu dalam pekabaran injil melalui lagu yang diciptakan, dinyanyikan sebagai sebuah kesaksian kisah nyata dalam kehidupan orang percaya yang menyatakan bahwa Yesus adalah Tuhan dan Juruselamat. Penelitian ini bertujuan untuk membahas musik sebagai instrumen yang penting di ladang misi. Metode yang digunakan dalam penelitian ini adalah pendekatan studi kepustakaan, dilakukan dengan mengumpulkan data yang relevan dengan topik atau permasalahan dalam penelitian ini. Hasil penelitian ini akan mendeskripsikan mengenai musik sebagai media dalam ibadah, musik sebgai media pemberitaan firman Tuhan, dan musik sebagai ujung tombak penuaian ladang misi.
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Simanjuntak, Fredy. "Musik Sebagai Media Terapi Penyembuhan: Sebuah Penelusuran Historis dalam Alkitab." Jurnal EFATA: Jurnal Teologi dan Pelayanan 8, no. 2 (July 2, 2022): 115–26. http://dx.doi.org/10.47543/efata.v8i2.66.

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Music has evolved in such a way, including within the church itself, but there is a part of music that is often overlooked in the church, namely the power of music in healing. In particular, the researcher takes the setting of the use of music in pentecostal-charismatic churches. This paper is a historical search in the Bible regarding the use of music in worship as a healing medium. The researcher as one of the music activists in the church gives an assessment that the sound produced by musical instruments in a series of praise and worship in worship affects the welfare of the congregation. The type of research used is descriptive research, using a qualitative approach. Researchers conclude that musical healing is real and far from speculation. Relying on the biblical basis of music as a therapeutic medium, the researchers revealed that music has the potential to have a therapeutic function in worship. AbstrakMusik telah berkembang sedemikian rupa termasuk di dalam gereja sendiri, namun ada bagian dari musik yang sering terabaikan dalam gereja, yaitu kekuatan musik dalam kesembuhan. Secara khusus peneliti mengambil setting penggunaan musik pada gereja-gereja bercorak pentakosta-kharismatik. Tulisan ini merupakan sebuah penelusuran historis dalam Alkitab mengenai penggunaan musik dalam ibadah sebagai media penyembuhan. Peneliti sebagai salah seorang penggiat musik dalam gereja memberikan penilaian bahwa suara yang dihasilkan oleh alat musik dalam rangkaian pujian maupun penyembahan dalam ibadah mempengaruhi kesejahteraan jemaat. Jenis penelitian yang digunakan adalah penelitian deskriptif, dengan menggunakan pendekatan kualitatif. Peneliti menyimpulkan bahwa penyembuhan musik adalah nyata dan jauh dari spekulasi. Mengandalkan dasar alkitabiah musik sebagai media terapi, peneliti mengungkapkan bahwa musik berpotensi terhadap fungsi terapi dalam ibadah.
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Wulandari, Tanty Sri, Mukhlis Aliyudin, and Ratna Dewi. "Musik sebagai Media Dakwah." Tabligh: Jurnal Komunikasi dan Penyiaran Islam 4, no. 4 (December 31, 2019): 448–66. http://dx.doi.org/10.15575/tabligh.v4i4.1089.

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ABSTRACK This paper aims to find out how Muhammadiyah views on music, how the preaching massages contained in the song Sabyan Gambus an how the Muhammadiyah Autonomous Organization’s “IMM” views about Islamic-themed songs from Sabyan Gambus. The research method uses descriptive qualitative approach, the descriptive method explains in detail the fact obtained from the field about the view of “IMM” about music in general, specifically about music as a propaganda media. The result showed that Muhammadiayah’s view of music is permissible depending on how it is used as the music media that is allowed to preach. In the Sabyan Gambus song, there is a 25% massage in the song entitled Ya Maulana, a 50% Ahlak massage in a song called El Oum and Syukronlillah an a Sharia massage a much as 25% in a song called Allahumalabaikh. Muhammadiyah’s views especially IMM toward Sabyan Gambus mostly agreed on the way preached through music media, not only as entertainment but also as preaching activities. Keywords: Music, Da’wah Media, Muhammadiyah’s views, Muhammadiyah’s “IMM” Autonomuos Organization ABSTRAK Tulisan ini bertujuan untuk mengetahui bagaimana pandangan Muhammadiyah terhadap music, bagaimana pesan dakwah yang terkandung dalam lagu Sabyan Gambus dan bagaimana pandangan Organisasi Otonom Muhammadiyah “IMM” mengenai lagu-lagu bertema Islam dari Sabyan Gambus. Metode penelitian menggunakan metode pendekatan deskriptif bersifat kualitatif, Dalam metode deskriptif menjelaskan dengan mendetail fakta yang didapat dari lapangan tentang pandangan dari “IMM” mengenai music secara umum, khususnya tentang music sebagai media dakwah. Hasil penelitian menunjukan bahwa pandagan Muhammadiyah terhadap music adalah hal yang diperbolehkan tergantung bagaimana penggunaannya begitupun dengan media music yang diperbolehkan untuk berdakwah. Dalam lagu Sabyan Gambus terdapat pesan Akidah sebanyak 25% pada lagu yang berjudul Ya Maulana, pesan Ahlak sebanyak 50% pada lagu yang berjudul El Oum dan Syukronlillah serta pesan Syariah sebanyak 25% pada lagu yang berjudul Allahumalabaikh. Pandangan Muhammadiyah terutama IMM terhadap Sabyan Gambus kebanyakan menyetujui cara mereka berdakwah lewat media music, tidak sebagai hiburan semata tapi juga sebagai aktifitas berdakwah. Kata Kunci : Musik; Media Dakwah; Pandangan Muhammadiyah; Organisasi Otonom Muhammadiyah “IMM”
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Andrew, Teguh Vicky, Riama Maslan Sihombing, and Hafiz Aziz Ahmad. "MUSIK, MEDIA, DAN KARYA : PERKEMBANGAN INFRASTRUKTUR MUSIK BAWAH TANAH (UNDERGROUND) DI BANDUNG (1967-1990)." Patanjala : Jurnal Penelitian Sejarah dan Budaya 9, no. 2 (September 16, 2017): 293. http://dx.doi.org/10.30959/patanjala.v9i2.18.

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AbstrakTren musik populer dari tahun ke tahun semakin mengguntungkan aliran musik bawah tanah (underground). Infrastruktur musik yang mandiri dan fleksibel, baik dalam tataran produksi, distribusi, dan konsumsi, menjadi kunci sukses aliran musik bawah tanah. Hal ini berlaku pula di Bandung. Namun pencapaian musik bawah tanah saat ini sebenarnya telah dirintis sejak 1970. Oleh karena itu, penelitian ini mencoba menelaah rintisan infrastruktur musik bawah tanah yang memiliki kontribusi bagi generasi sekarang. Untuk itu, penelitian ini dilakukan dengan menggunakan metode sejarah dengan pisau analisis skena musik dan musik bawah tanah. Berdasarkan telaah yang dilakukan, infrastrukstur musik yang dibangun pada periode 1967-1990 tidak saja terkait dengan aliran dan grup musik belaka, tetapi juga beragam media (cetak dan radio) dan album independen. Infrastruktur ini kemudian dijadikan model dan dikembangkan dalam sistem yang lebih kompleks sesuai dengan tren musik bawah tanah di Bandung.Kata kunci: skena, musik, bawah tanah, infrastruktur AbstractPopular music trend from year to year more prospering for underground music. Independent and flexibel musical infrastructure, in term of production, distribution, and consumption, becomes key success for underground music. This also applies in Bandung. However, the current achievement of underground music acctually was began since 1970. Therefore, this research tries to analyze infrastructure formation in underground music that has contributed for the current generation. For that reason, this research was conducted by using historical method with music scene and underground music concept. Based on the analysis, the musical infrastructure that built in 1967-1990, not only related to the genre and music grup, but also various media (print and radio) and independent album. The infrastructure subsequently became raw model and developed in more complex system in accordance with the underground music trend in Bandung.Keywords : scene, music, underground, infrastructure
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Brown, Andrew R. "Music, media and making: Humanising digital media in music education." International Journal of Music Education os-33, no. 1 (May 1999): 10–17. http://dx.doi.org/10.1177/025576149903300103.

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Wirandi, Rika, and Magfhirah Murni B. P. "FUNGSI MUSIK DALAM UPACARA PERAYAAN RITUAL THAIPUSAM ETNIS HINDU TAMIL DI BANDA ACEH." Gorga : Jurnal Seni Rupa 10, no. 2 (December 22, 2021): 415. http://dx.doi.org/10.24114/gr.v10i2.28379.

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Thaipusam is a celebration ceremony held sacredly in the form of a prayer ritual procession and the procession of the Lord Murugan statues which is held annually by the Tamil Hindu ethnic community in Banda Aceh. This ritual is held in the Thai month according to the Hindu Tamil calendar, as a form of respect for Lord Murugan for his victory in fighting evil. This celebration ceremony is also a place to fulfill vows and purify themselves for ritual participants - which is accompanied by the attraction of stabbing sharp objects into certain body parts such as the tongue, lips, cheeks, forehead, back, and other body parts. This celebration ceremony includes percussion music at the time of the procession. In addition to having multiple functions in the context of the celebration ceremony, percussion ensemble music in the procession is also believed to have its own effect on ritual participants. Religious songs and percussion music ensembles in the celebration ceremony at first glance do appear to be mere elements of ritual celebration. However, furthermore, the percussion music ensemble is considered to play a role in influencing the spirituality of the ritual performer to lead him to a state of stupor, to trance when performing body piercing attractions. The purpose of this study was to examine the function of music in the Thaipusam Ritual celebration ceremony as well as in influencing the spirituality level of the ritual participants. The research method used is a qualitative research method which is carried out in several stages, including: literature study and in-depth interviews. The approach used in this research is the theory of music function from Alan P. Merriam and the approach to music and trance proposed by Gilbert Rouget. The results of this study indicate that, at least there are four functions of music observed in this study, including: celebratory and entertainment functions; function of cultural expression; the function of legitimizing ritual ceremonies; and function of community group integrity. On the other hand, for ritual supporters – in this case the votive participants, music serves as a spiritual reinforcement for them in fulfilling their vows.Keywords: music function, thaipusam, Banda Aceh.AbstrakThaipusam adalah upacara perayaan yang diselenggarakan secara sakral dalam bentuk prosesi ritual doa dan prosesi araka-arakan arca Dewa Murugan yang diselenggarakan setiap tahun oleh masyarat etnis Hindu Tamil di Banda Aceh. Ritual ini dilangsungkan pada bulan Thai menurut kalender Hindu Tamil, sebagai bentuk penghormatan Dewa Murugan atas kemenangannya memerangi kejahatan. Upacara perayaan ini juga sebagai ajang untuk menunaikan nazar dan menyucikan diri bagi peserta ritual -- yang disertai atraksi menusukkan benda-benda tajam ke beberapa bagian tubuh tertentu seperti, lidah, bibir, pipi, dahi, punggung, serta bagian tubuh lainnya. Upacara perayaan ini menghadirikan permainan musik perkusi pada saat prosesi arak-arakan. Selain memiliki fungsi yang jamak dalam konteks upacara perayaannya, musik ensambel perkusi dalam arak-arakan juga diyakini memiliki efek tersendiri bagi peserta ritual. Nyanyian keagamaan dan ensambel musik perkusi dalam upacara perayaan tersebut secara sekilas memang tampak sebagai unsur pemeriah ritual semata. Namun, lebih jauh, ensambel musik perkusi tersebut dinilai berperan dalam memengaruhi spiritualitas pelaku ritual hingga mengantarnya ke pada kondisi kusyuk, hingga trance saat melakukan atraksi tindik tubuh. Tujuan penelitian ini untuk melihat fungsi musik dalam upacara perayaan Ritual Thaipusam serta dalam memengaruhi tingkat spiritualitas peserta ritual. Metode penelitian yang dipakai adalah metode penelitian kualitatif yang dilakukan dalam beberapa tahapan, di antaranya: studi literatur dan wawancara mendalam. Pendekatan yang digunakan dalam penelitian ini adalah teori fungsi musik dari Alan P. Merriam dan pendekatan tentang musik dan trance yang dikemukakan oleh Gilbert Rouget. Hasil penelitian ini menyatakan bahwa, setidaknya terdapat empat fungsi musik yang teramati dalam penelitian ini, di antaranya: fungsi pemeriah dan hiburan; fungsi ekspresi budaya; fungsi pengabsahan upacara ritual; dan fungsi integritas kelompok masyarakat. Di sisi lain, bagi pendukung ritual - dalam hal ini peserta nazar, musik berfungsi sebagai penguat spiritual mereka dalam menunaikan nazar.Kata Kunci: fungsi musik, thaipusam, Banda Aceh. Authors:Rika Wirandi : Institut Seni Budaya Indonesia AcehMaghfihrah Murni B. P. : Institut Seni Budaya Indonesia Aceh References:AcehKita. (2018). Perayaan Maha Puja Pengguni Uthiram, Umat Hindu Tamil di Aceh. YouTube. https://www.youtube.com/watch?v=q1rwc294NwA.Acehkini. (2019). Prosesi Arakarakan. YouTube. Acehkini.id/https://www.youtube.com/watch?v=plj926dKupo.Ananda, Ferdian. (2016). Uthiram Pangguni Celebration in Aceh. YouTube. https://www.youtube.com/watch?v=L77hKkVZ7xA.Dwi, N. (2019). Festival Thaipusam Sebagai Daya Tarik Wisata di Batu Caves Malaysia.Karnaen, Y. (2017). Analisis Tari Bharatanatyam dan Musik Iringan pada Upacara Thaipusam Masyarakat Tamil di Kota Binjai.Merriam, A. P., & Merriam, V. (1964). The Anthropology of Music. Evanston: Northwestern University Press.Mogot, Y. (2019). Aktivitas Komunikasi Masyarakat Hindu Tamil Dalam Upacara Thaipusam Di Singapura. Jurnal Common, 3(2), 216–228.Moleong, L. J. (2007). Metodologi Penelitian Kualitatif Edisi Revisi. Bandung : PT Remaja Rosdakarya.Riyaf, A., & Hasanah, N. (2016). Anthropos: Jurnal Antropologi Sosial dan Budaya. Anthropos, 2(1), 46–61.Rouget, G. (1985). Music and Trance: A Theory of the Relations Between Music and Possession. Chicago: University of Chicago Press.Wirandi, Rika. (2020). “Vel yang Terdapat pada Kuil Pelani Andawer”. Hasil Dokumentasi Pribadi: 09 Juni 2020, Banda Aceh.
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Aglaia, Rachman Rigga, and Nur Maghfirah Aesthetika. "Peran media baru terhadap gelaran konser musik di era pandemi Covid-19: Studi kasus Pamungkas "The Solipsism 0.2”." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 6, no. 1 (April 28, 2022): 13–22. http://dx.doi.org/10.22219/satwika.v6i1.19836.

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Budaya merupakan salah satu komponen perilaku manusia dan teknologi, menurut O’Brien dalam (Setiawan, 2013) Musik telah menjadi budaya dan bagian hidup dari masyarakat Indonesia namun adanya pandemi Covid-19 menghambat seluruh aktivitas masyarakat tidak terkecuali dunia musik. Banyak gelaran musik yang telah dipersiapkan berbulan-bulan jauhnya dan selalu ada setiap tahun terpaksa dibatalkan, namun dengan adanya perkembangan teknologi perubahan ruang kreativitas musisi Indonesia pun berubah. Dengan memanfaatkan berbagai media online seperti Instagram, Youtube, dan situs web, Pamungkas sukses dengan album barunya “Solipsism 0.2”. Pamungkas berhasil menarik lebih dari satu juta penonton dari konser musik daringnya. Penelitian ini bertujuan untuk mengetahui apa peran new media terhadap gelaran konser musik dalam era pandemi Covid-19 dan bagaimana peran new media dalam mengatasi gelaran konser musik online dengan studi kasus “Pamungkas : The Solipsism 0.2” sehingga kami berharap dengan adanya penelitian ini dapat memberikan gambaran bagaimana perkembangan media baru dan teknologi komunikasi dalam perkembangan musik di Indonesia. Penulis melakukan analisa kualitatif deskriptif dengan mengumpulkan data dan informasi sekunder melalui kajian pustaka. Hasil penelitian menunjukkan bahwa media baru memiliki peranan yang penting dalam gelaran konser musik terutama pada masa pandemi Covid-19 seperti saat ini karena keterbatasan yang ada. Kesimpulan yang kami hasilkan yaitu media baru dapat dimanfaatkan sebagai media utama yang dapat efisiensi dalam berkomunikasi. Culture is one component of human behavior and technology, according to O'Brien in (Setiawan, 2013) Music has become a culture and part of life for Indonesian people, but the Covid-19 pandemic has hampered all community activities, including the music world. Many musical events that have been prepared for months and always take place every year have had to be canceled, but with the development of technology, the creative space of Indonesian musicians has changed. By utilizing various online media such as Instagram, Youtube, and websites, Pamungkas was successful with his new album “Solipsism 0.2”. Pamungkas managed to attract more than one million viewers from its online music concerts. This study aims to find out what the role of new media in music concerts in the Covid-19 pandemic era and how the role of new media in overcoming online music concerts with the case study "The Ultimate: The Solipsism 0.2" so we hope that this research can provide an overview. how the development of new media and communication technology in the development of music in Indonesia. The author conducted a descriptive qualitative analysis by collecting secondary data and information through a literature review. The results of the study show that new media have an important role in holding music concerts, especially during the Covid-19 pandemic as it is today because of existing limitations. Our conclusion is that new media can be used as the main media for efficient communication.
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Kriswanto, Yanuarius Jefri. "PERAN MUSIK SEBAGAI MEDIA INTERVENSI DALAM LINGKUP PRAKTIK KLINIS." IKONIK : Jurnal Seni dan Desain 2, no. 2 (July 29, 2020): 81. http://dx.doi.org/10.51804/ijsd.v2i2.737.

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Banyak ahli dan pakar psikologi meneliti peran musik terhadap proses penyembuhan pada praktik klinis untuk berbagai macam penyakit. Dewasa ini musik dan elemen yang terkandung di dalamnya sering digunakan sebagai media intervensi selama proses penyembuhan medis berlangsung. Tujuan penelitian ini adalah untuk mengetahui sejauh mana musik dapat berperan sebagai media intervensi dalam praktik klinis. Metodologi yang digunakan dalam penelitian ini adalah studi pustaka dengan memanfaatkan jurnal online, buku serta disertasi. Hasilnya adalah musik sebagai media intervensi ternyata sangat membantu dalam pasien mengatasi rasa takut, cemas, dan nyeri baik sebelum, selama, dan setelah proses perawatan medis berlangsung. Lebih dari itu, Intervensi musik pada pasien terbukti dapat membangun rasa percaya diri serta memunculkan energi positif dari hasil pengalaman menyenangkan yang telah dialami sebelumnya. Hal ini tentunya sangat baik untuk memajukan kualitas hidup dan kesejahteraan psikologis pasien.Many experts and psychologists examine how big music is taking a role in the healing process in clinical practice for various diseases. Nowdays music and the elements contained in it are often used as a medium of intervention during the medical healing process. The purpose of this study is to determine the extent to which music can act as a medium of intervention in clinical practices. The methodology used in this research is literature approach by utilizing online journals, books, and dissertations. The result is music as an intervention media is very helpful in patients in order to overcome fear, anxiety, and pain both before, during, and after the medical treatment process. More than that, music intervention in patients is proven to build self-confidence and generate positive energy which are coming from their pleasant experiences they feel before. This is certainly very good for advancing the quality of life and psychological well-beeing of them.
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Nursyirwan, Nursyirwan, Delfi Enida, and Alfalah Alfalah. "KEANEKARAGAMAN BUDAYA SEBAGAI JATI DIRI KOMUNITAS TUALANG SIAK TERHADAP PERTUNJUKAN MUSIK KOMPANG." Gorga : Jurnal Seni Rupa 10, no. 1 (May 10, 2021): 107. http://dx.doi.org/10.24114/gr.v10i1.24873.

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Research on cultural diversity as the identity of Tualang people in playing kompang music, is the development of previous kompang music research. In finding the identity of tualang people must start things for themselves, certainly not easy in the discovery of that identity, as a characteristic of heterogeneous areas. The purpose of maintaining the existence of kompang music for the Tualang community as a binding solidarity of the community area. Data is collected through observation, field research, interviews, and documentation. Analyzed with qualitative descriptive techniques, interpretative analysis. Interviews were conducted by purposive sampling. The result of the study : the context of kompang music in Tualang community, namely at wedding celebrations, aqiqah, welcoming party for important guest, festival events and religious celebrations. Its exixtence is seen inthe development of kompang music area in Tualang area. The concept of kompang music is inseperable from the philosopihical background of various cultures, religions, and creativity of the community over the development of market taste. Creativity is not only the birth of music as an expression but is the result of the interaction of the players in it which gives bitrh to a variety of creativity in performance.Keywords: music, kompang, identity, multiculture.AbstrakPenelitian keanekaragaman budaya sebagai jati diri orang-orang Tualang dalam memainkan musik kompang, adalah pengembangan penelitian musik kompang sebelumnya. Dalam menemukan jati diri masyarakat Tualang harus memulai hal-hal untuk diri sendiri, tentu tidak mudah dalam penemuan jati diri itu, sebagai penciri khas daerah yang heterogen. Tujuan tetap mempertahankan keberadaan musik kompang bagi masyarakat Tualang sebagai pengikat solidaritas kedaerahan komunitas. Data dikumpulkan melalui observasi, penelitian lapangan, wawancara, dan dokumentasi. Dianalisis dengan teknik deskriptif kualitatif, analisis interpretatif. Wawancara dilakukan dengan cara purposive sampling. Hasil penelitian: konteks musik Kompang dalam masyarakat Tualang, yakni pada perayaan pernikahan, khitanan, aqikahan, penyambutan tamu penting, acara festival, perayaan agama. Eksistensinya terlihat pada perkembangan wilayah musik kompang di daerah Tualang. Konsep musik kompang tidak terlepas dari latar belakang filosofi bermacam budaya, agama, dan kreativitas masyarakat atas perkembangan selera pasar. Kreativitas tidak hanya pada pelahiran musik sebagai ekspresi akan tetapi merupakan hasil dari adanya interaksi pemain di dalamnya yang melahirkan variasi kreativitas dalam sebuah pertunjukan.Kata Kunci: musik, kompang, jati diri, multiculture.Authors:Nursyirwan : Institut Seni Indonesia PadangpanjangDelfi Enida : Institut Seni Indonesia PadangpanjangAlfalah : Institut Seni Indonesia PadangpanjangReferences:­Armes, Hengki. (2015). Interaksi Sosial Dalam Kesenian Kompang Di Masyarakat Dusun Delik Kecamatan Bantan Kabupaten Bengkalis. Tesis tidak diterbitkan. Padangpanjang: Program Pascasarjana ISI Padangpanjang.Brannen, Julia. (2005). Memandu Metode Penelitian Kualitatif dan Kuantitatif. Samarinda: Pustaka Pelajar.Depdiknas. (2008). Kamus Besar Bahasa Indonesia. Jakarta: Gramedia Pustaka Utama.Enida, Delfi. (2019). “Notasi Pukulan Kompang”. Hasil Dokumentasi Pribadi: 7 Maret 2019, Kecamatan Tualang.Hadi, Y. Sumandiyo. (2012). Seni Pertunjukan dan Masyarakat Penonton. Yogyakarta: BP ISI Yogyakarta.Hatley, Barbara. (2014). Seni Pertunjukan Kontemporer di Jawa Tengah: Memanggungkan Identitas, Membangun Komunitas dalam Seni Pertunjukan Indonesia Pasca Orde Baru. Yogyakarta: Univ. Sanata Dharma.Hauser, Arnold. (1982). The Sosiology of Art. Terj. Kenneth J. Northcoot. Chicago and London: The University of Chicago Press.McHale, John. (1969). The Future of the Future. New York: George Braziller.Nettl, Bruno. (1964). Theory and Method in Ethnomusicology. London: The Free Press of Glencoe.Nursyirwan. (2019). “Bunyi Pukulan Kompang”. Hasil Dokumentasi Pribadi: 7 Maret 2019, Kecamatan Tualang.Nursyirwan. (2000). Paradima Musikologis Musik Kompang Di Kelakap Tujuh Dumai Barat. Laporan penelitian tidak diterbitkan. Padangpanjang: STSI Padangpanjang.Sari, Fani Dila, Haria Nanda Pratama, Indra Setiawan. (2020). Identifikasi Umah Adat Pitu Ruang sebagai Produk Kebudayaan Gayo. Studi Kasus: Umah Reje Baluntara Di Aceh Tengah. Gorga: Jurnal Seni Rupa, 09(2), 451-454. https://doi.org/10.24114/gr.v9i2.22116.Simatupang, Lono. (2013). Pergelaran sebuah Mozaik Penelitian Seni-Budaya. Yogyakarta: Jalasutra.Steijlen, Fridus. (2014). Pasar Malam Indo-Eropa: Identitas dan Pertunjukan Kebudayaan Di Belanda”, dalam Seni Pertunjukan Indonesia Pasca Orde Baru. Yogyakarta: Univ. Sanata Dharma. Suwardi MS. (2014). Dari Melayu ke Indonenesia. Yogyakarta: Pustaka Pelajar.Whitehead, Alfred North. (1929). Process and Reality. New York: Free Press.Wolf. R, Eric. (1983). Petani suatu Tinjauan Antropologis. Terjemahan TIM Yayasan Ilmu-Ilmu Sosial. Bandung: Rajawali.
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Thompson, Keith P. "Adolescents and Media Music." Update: Applications of Research in Music Education 12, no. 2 (April 1994): 9–15. http://dx.doi.org/10.1177/875512339401200202.

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Dissertations / Theses on the topic "Media music"

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Fucay, Monthedoro Edith Elizabeth, Hoyos Sadith Rosana Manrique, Cachuan Anne Katherine Rodriguez, and Noriega Edgar Verástegui. "Estudio de música Visual Music Media." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/626263.

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El presente proyecto sobre el estudio de grabación, nos muestra la viabilidad de la ejecución, basándonos en una investigación y validación de mercado que se realizó en la ciudad de Lima Metropolitana a personas del NSE B, C y D, que nos permitió identificar una demanda insatisfecha debido a la falta de oportunidades de poder demostrar su talento musical, en un estudio de música implementado con un nivel profesional, con instrumentos y equipos profesionales y que, además, les ofrezcan oportunidades de presentaciones en eventos. Actualmente, las personas interesadas en el arte de la música buscan estudios en donde puedan mejorar o perfeccionar su talento, y se preocupan por encontrar un lugar que les ofrezcan todas las alternativas posibles, y considerando que hoy en día hay una gran tendencia, vemos que hay una oportunidad de negocio para poder atender esta necesidad. Para la puesta en marcha de este estudio de música, se requerirá una inversión inicial de S/231,815 soles, financiado en un 40% con la aportación de un inversionista y un 60% con los aportes de los accionistas. La inversión que realizarán los accionistas (60%) se estima recuperar en 5.77 años de la operación. El proyecto resulta viable porque cumple las expectativas de los inversionistas y accionistas al tener una TIRE (61.31%) superior al WACC (15.84%), y para el accionista de un COK de 17% obteniendo un TIRF de 56.00%. anual.
This project on the recording studio shows us the feasibility of the execution, based on a market research and validation that was carried out in the city of Lima Metropolitana to people of NSE B, C and D, which allowed us to identify a demand dissatisfied due to the lack of opportunities to demonstrate their musical talent, in a music studio implemented with a professional level, with professional instruments and teams and that also offer them opportunities for presentations at events. Today, people interested in the art of music look for studies where they can improve or perfect their talent, and they worry about finding a place that offers them all the possible alternatives, and considering that today there is a great trend, we see that there is a business opportunity to meet this need. For the start-up of this music studio, an initial investment of S/231,815 soles will be required, financed by 40% with the contribution of an investor and 60% with the contributions of the shareholders. The investment that shareholders will make (60%) it is estimated to recover within 5.77 years of the operation. The project is viable because it meets the expectations of investors and shareholders by having a TIRE (61.31%) WACC (15.84%), and for the shareholder of a COK of 17% obtaining a TIRF of 56.00%. per year.
Trabajo de investigación
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Hui, Viny Wan-Fong. "Music preferences, music and non-music media use, and leisure involvement of Hong Kong adolescents." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2001. http://www.library.unt.edu/theses/open/20013/hui%5Fviny/index.htm.

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Bowsher, Andrew John. "Authenticity and the commodity : physical music media and the independent music marketplace." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a421adac-1d86-4351-8778-6e16e1744513.

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This thesis examines the circulation of physical music media (78rpm records, LPs, CDs, tape) in the independent music marketplace. It is based on six months of ethnographic fieldwork in Austin, Texas, amongst the producers of goods for the independent marketplace, independent music stores and consumers of these goods and services. Against prevailing constructivist interpretations, I will argue for the value of authenticity as an analytical anthropological concept because it unites what my research participants value about materiality, technology, and marketplace relationships. In the independent marketplace for physical music media, authenticity is a multi-local, multi-vocal phenomenon. A nexus of economic rationales, design, reproduction-technologies, histories and personal conduct interact in an ongoing process that authenticates music commodities and their marketplace. This means that particular commodities are sought out over others on account of the multi-local authenticities they anchor. The thesis firstly demonstrates how the independent music scene safeguards claims to authentic identities by constructing an opposition to the mainstream, drawing on discourses of ethical production and consumption, sound technologies, spaces of consumption and cultural production. Secondly, I will uncover how physical music media and sound-reproduction technologies are assessed as effective providers of authentic musical reproductions according to their historical contingencies and performative material capacities. Thirdly, I develop the notion of the scene (Shank 1994) from its previously genre-fixed perspective to encompass multiple musical styles operating within a common social network of producers, retailers and collectors. The pluralistic scene I describe utilises multiple musical genres and nuanced notions of materiality and authenticity to establish their complex hierarchy of sonic and technological experiences.
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Franaszczuk, Monika Cecilia. "Chopin Onscreen: Media Representations of Frederic Chopin." Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1531241114714343.

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Sarkar, Mihir Ph D. Massachusetts Institute of Technology. "World music technology : culturally sensitive strategies for automatic music prediction." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77812.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2012.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 103-112).
Music has been shown to form an essential part of the human experience-every known society engages in music. However, as universal as it may be, music has evolved into a variety of genres, peculiar to particular cultures. In fact people acquire musical skill, understanding, and appreciation specific to the music they have been exposed to. This process of enculturation builds mental structures that form the cognitive basis for musical expectation. In this thesis I argue that in order for machines to perform musical tasks like humans do, in particular to predict music, they need to be subjected to a similar enculturation process by design. This work is grounded in an information theoretic framework that takes cultural context into account. I introduce a measure of musical entropy to analyze the predictability of musical events as a function of prior musical exposure. Then I discuss computational models for music representation that are informed by genre-specific containers for musical elements like notes. Finally I propose a software framework for automatic music prediction. The system extracts a lexicon of melodic, or timbral, and rhythmic primitives from audio, and generates a hierarchical grammar to represent the structure of a particular musical form. To improve prediction accuracy, context can be switched with cultural plug-ins that are designed for specific musical instruments and genres. In listening experiments involving music synthesis a culture-specific design fares significantly better than a culture-agnostic one. Hence my findings support the importance of computational enculturation for automatic music prediction. Furthermore I suggest that in order to sustain and cultivate the diversity of musical traditions around the world it is indispensable that we design culturally sensitive music technology.
by Mihir Sarkar.
Ph.D.
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Acee, Dana F. "Women in Sha'bi Music: Globalization, Mass Media and Popular Music in the Arab World." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1321368508.

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Bochanty-Aguero, Erica Jean. "Music that moves television music, industrial travel, and consumer agency in contemporary media culture /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1851096631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Aav, Sebastian. "Adaptive Music System for DirectSound." Thesis, Linköping University, Department of Science and Technology, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-6092.

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With the intention of surveying the field of research in adaptive audio systems for interactive media, a suggested audio system design for adaptive music control is described, and a prototype implementation of key parts of the system is presented and evaluated.

Foregoing midi-triggered sound banks, the proposed design uses layered segmented audio files, defined and controlled by XML-scripts. The results demonstrate an inclination of a flexible system, capable of adequate adaptive behaviour of high quality sound.

The implemented system will serve as an extensive basis for future work contributing to the research of adaptive behaviour to both music and sound effects for interactive media, and also as a preliminary foray into the more experimental field of stand-alone non-linear music playback.

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Grove, Benjamin J. "Cruise/Control for Wind Ensemble and Fixed Electronic Media." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524481623531767.

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Oliveiro, Mark 1983. "Compositional approaches within new media paradigms." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849618/.

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"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.
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Books on the topic "Media music"

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Jane, Alison, Farrelly Liz, and Barbican Art Gallery, eds. Jam style+music+media. London: Barbican Art Gallery, 1996.

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Malm, Krister. Media policy and music activity. London: Routledge, 1992.

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Roger, Wallis, ed. Media policy and music activity. London: Routledge, 1993.

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Lexmann, Juraj. Audiovisual media and music culture. Frankfurt am Main: Peter Lang, 2009.

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Barbora, Patočková, ed. Audiovisual media and music culture. Frankfurt am Main: Peter Lang, 2009.

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Malm, Krister. Media policy and music activity. London: Routledge, 2003.

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Lexmann, Juraj. Audiovisual media and music culture. Frankfurt am Main: Peter Lang, 2009.

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Ashbourn, Julian. Audio Technology, Music, and Media. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-62429-3.

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Roger, Wallis, ed. Media policy and music activity. London: Routledge, 1992.

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Music, media & adolescent sexuality in Jamaica. Kingston, Jamaica: Arawak Publications, 2010.

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Book chapters on the topic "Media music"

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James, Daniel. "Making Music." In Crafting Digital Media, 211–46. Berkeley, CA: Apress, 2009. http://dx.doi.org/10.1007/978-1-4302-1888-3_8.

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Connock, Alex. "Music." In Media Management and Artificial Intelligence, 259–76. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003213611-18.

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Donham, Tammy, Amy Sue Macy, and Clyde Philip Rolston. "Paid Media." In Marketing Recorded Music, 383–423. 4th ed. New York: Focal Press, 2022. http://dx.doi.org/10.4324/9781003153511-15.

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Wirtz, Bernd W. "Music management." In Media and Internet Management, 341–81. Wiesbaden: Gabler, 2011. http://dx.doi.org/10.1007/978-3-8349-6843-2_7.

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Gebesmair, Andreas. "Music." In Handbook of Media and Communication Economics, 1–19. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-34048-3_41-2.

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Leurdijk, Andra, Ottilie Nieuwenhuis, and Martijn Poel. "The Music Industry." In Digital Media Worlds, 133–46. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137344250_9.

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Arewa, Olufunmilayo B. "Making Music." In A Companion to Media Authorship, 69–87. Oxford, UK: Wiley-Blackwell, 2013. http://dx.doi.org/10.1002/9781118505526.ch4.

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McDonald, Paul. "The Music Industry." In The Media in Britain, 88–107. London: Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27556-4_6.

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Schneider, Christopher J. "Music and Social Media." In Understanding Society through Popular Music, 155–72. Third edition. | New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315751641-9.

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Kjus, Yngvar. "Music, Media, and Mentalization." In Live and Recorded, 25–49. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70368-8_2.

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Conference papers on the topic "Media music"

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Schedl, Markus. "Social media and classical music?" In the first international workshop. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2632188.2632213.

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Chin, Yu Hao, Szu Hsien Lin, Chang Hong Lin, Ernestasia Siahaan, Aufaclav Frisky, and Jia Ching Wang. "Emotion Profile-Based Music Recommendation." In 2014 7th International Conference on Ubi-Media Computing and Workshops (UMEDIA). IEEE, 2014. http://dx.doi.org/10.1109/u-media.2014.32.

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Wardhana, Alexander Tyas Aji, and Hargyo Tri Nugroho I. "Combining FOAF and music ontology for music concerts recommendation on facebook application." In 2013 Conference on New Media Studies (CoNMedia). IEEE, 2013. http://dx.doi.org/10.1109/conmedia.2013.6708544.

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Martinez, Juan Carlos. "Extending Music Notation as a Programming Language for Interactive Music." In IMX '21: ACM International Conference on Interactive Media Experiences. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3452918.3458807.

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OKeefe, Linda. "Sound Art and New Media: An Alternate History." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/soundartandnewmedia.

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Wang, Yanfang. "The Application of Computer Music Production Software in Music Creation." In 2021 International Conference on Computer Technology and Media Convergence Design (CTMCD). IEEE, 2021. http://dx.doi.org/10.1109/ctmcd53128.2021.00031.

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Gavriilidis, Vasileios, Anastasios Tefas, Constantine Kotropoulos, and Nikos Nikolaidis. "Enhanced similarities for a music Recommender System." In 2016 Digital Media Industry & Academic Forum (DMIAF). IEEE, 2016. http://dx.doi.org/10.1109/dmiaf.2016.7574913.

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Parker, Charles, Dhiraj Joshi, Phoury Lei, and Jiebo Luo. "Finding geographically representative music via social media." In the 1st international ACM workshop. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2072529.2072538.

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Foote, Jonathan, Matthew Cooper, and Andreas Girgensohn. "Creating music videos using automatic media analysis." In the tenth ACM international conference. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/641007.641119.

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Perez, Pablo, Elena Vallejo, Marta Revuelta, María Victoria Redondo Vega, Esther Guervós Sánchez, and Jaime Ruiz. "Immersive Music Therapy for Elderly Patients." In IMX '22: ACM International Conference on Interactive Media Experiences. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3505284.3529961.

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Reports on the topic "Media music"

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Winseck, Dwayne. Growth and Upheaval in the Network Media Economy in Canada, 1984-2021. Canadian Media Concentration Research Project (CMCRP), November 2022. http://dx.doi.org/10.22215/gmicp/2022.01.

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The Canadian contribution and data set prepared as part of the Global Media and Internet Concentration (GMIC) project offers an independent academic, empirical and data-driven analysis of a deceptively simple yet profoundly important question: have telecom, media and internet markets become more concentrated over time, or less? Media Ownership and Concentration is presented from more than a dozen sectors of the telecom-media-internet industries, including film, music and book industries.
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Winseck, D. Growth and Upheaval in the Network Media Economy in Canada, 1984-2019. Canadian Media Concentration Research Project (CMCRP), Carleton University, November 2020. http://dx.doi.org/10.22215/cmcrp/2020.1.

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This report examines the development of the media economy over the past thirty-five years. Since beginning this project a decade ago, we have focused on analyzing a comprehensive as possible selection of the biggest telecoms, Internet and media industries (based on revenue) in Canada, including: mobile wireless and wireline telecoms; Internet access; cable, satellite & IPTV; broadcast television, specialty and pay television services as well as Internet-based video subscription and download services; radio; newspapers; magazines; music; Internet advertising; social media; operating systems; browsers, etc.
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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Nucera, Diana J., and Catalina Vallejo. Media-making Pedagogies for Empowerment & Social Change: An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, February 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.

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" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draws from and includes eleven years of community organizing work in Detroit. In their conversation, Vallejo and Nucera spoke about the history of independent media and the internet, the potential of media-making pedagogies for empowerment and social change, and being optimistic about opportunity in the midst of great challenges."
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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn, and Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”. The software tools for mobile application development (Android Studio, SDK, NDK, Google Sceneform, 3Ds MAX, Core Animation, Asset Media Recorder, Ashampoo Music Studio, Google Translate Plugin) are described. The bank of 3D models of elements of electrical circuits (sources of current, consumers, measuring devices, conductors) is created. Because of the students’ and teachers’ surveys, the advantages and disadvantages of using AR in the teaching process are discussed. Mann-Whitney U-test proved the effectiveness of the use of AR for laboratory works in physics by students majoring in “Mathematics”, “Computer Science”, and “Cybersecurity”.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 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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