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Books on the topic 'Mushic'

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Author: Grafiati

Published: 25 July 2024

Last updated: 30 July 2024

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1

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Beijing juan. Beijing: Beijing chu ban she, 1992.

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2

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Shandong juan. [Peking]: Zhongguo ISBN zhong xin, 1996.

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3

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Hainan juan. [Beijing]: Zhongguo ISBN zhong xin, 2004.

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4

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Zhejiang juan. Beijing: Zhongguo ISBN zhong xin, 2001.

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5

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Gansu juan. [Beijing]: Zhongguo ISBN zhong xin, 2006.

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6

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Ningxia juan. Beijing: Zhongguo ISBN zhong xin, 1999.

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7

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Guizhou juan. Beijing: Zhongguo ISBN zhong xin, 2002.

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8

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Hebei juan. Beijing: Zhongguo ISBN zhong xin, 1998.

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9

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Jiangsu juan. Beijing: Zhongguo ISBN zhong xin, 1992.

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10

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Henan juan. Beijing: Zhongguo ISBN zhong xin, 1993.

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11

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Sichuan juan. [Peking]: Zhongguo ISBN zhong xin, 1997.

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12

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Heilongjiang juan. Beijing: Zhongguo ISBN zhong xin, 1994.

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13

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Liaoning juan. Beijing: Zhongguo ISBN zhong xin, 2001.

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14

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Jilin juan. Beijing: Zhongguo ISBN zhong xin, 1999.

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15

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Xizang juan. [Beijing]: Zhongguo ISBN zhong xin, 2003.

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16

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Guangdong juan. Beijing: Zhongguo ISBN zhong xin, 1996.

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17

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Nei Menggu juan. [Peking]: Zhongguo ISBN zhong xin, 1998.

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18

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Qinghai juan. [Beijing]: Zhongguo ISBN zhong xin, 2003.

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19

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Yunnan juan. [Beijing]: Zhongguo ISBN zhong xin, 2004.

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20

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Guangxi juan. Beijing: Zhongguo ISBN zhong xin, 2002.

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21

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Fujian juan. Beijing: Zhongguo ISBN zhong xin, 2003.

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22

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Hubei juan. Beijing: Zhongguo ISBN zhong xin, 1998.

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23

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Shanghai juan. Beijing: Zhongguo ISBN zhong xin, 2001.

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24

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Shanxi juan. [Peking]: Zhongguo ISBN zhong xin, 1997.

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25

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Shanxi juan. [Beijing]: Zhongguo ISBN zhong xin, 2005.

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26

"Zhongguo xi qu yin yue ji cheng" bian ji wei yuan hui. Zhongguo xi qu yin yue ji cheng: Xinjiang juan. [Peking]: Zhongguo ISBN zhong xin, 1996.

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27

Bacon, Frances a. Music, music, music! Barrington, IL: Rigby, 2004.

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28

1820-1900, Grove George Sir, and Sadie Stanley, eds. The New Grove dictionary of music and musicians. London: Macmillan Publishers, 1995.

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29

Shidōka, Tokyo (Japan) Kankyō. Tōkyō no mushi zukan: Sasu mushi, kamu mushi, iyana mushi. Tōkyō: Tōkyō-to Eiseikyoku, 1991.

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30

Coburn, Paul. Music, music, music!!: 60 years of broadcasting. Salt Lake City, Utah: P.H. Coburn, 1998.

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31

Rosero, Carlos William Gómez, ed. Do Re Mi 9: Educación Musical. Bogotá, Colombia: Artelandia Ediciones (Voluntad), 2004.

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32

Zola, Emile. Écrits sur la musique. Paris: Éditions du Sandre, 2013.

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33

Dekleva, Milan. Muši muši: Mushi mushi. Ljubljana: Apokalipsa, 2005.

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34

Malone, Bill C. Southern music/American music. Lexington, KY: University Press of Kentucky, 2002.

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35

Williams, Vera B. Music, music for everyone. London: MacRae, 1985.

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36

Eyre, John. Music for music majors. Riverhead, Long Island, N.Y: Bulkhead Pub., 1987.

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37

Kartomi, Margaret. South Sumatra. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0007.

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This chapter examines the historical distribution of two musico-lingual groups living in South Sumatra: the Besemah in Tanjungsakti and Kayuagung, and the Ogan-Komering Ilir (OKI) people in Burai. South Sumatra's network of rivers and tributaries—known as the Batang Hari Sembilan—has governed its peoples' travels, worldviews, adat, legends, and musical arts for well over 2,000 years. This chapter explores how South Sumatra's environment and associated cosmology, adat customs, and the history of religion and foreign contact have shaped its musico-lingual groups and music, dance, and theater more generally. It first considers the Besemah's bardic legends and their classical and social dances and ensemble music, vocal music, and solo instrumental music before turning to the Anak Dalem people. It also describes the Ogan-Komering Ilir (OKI) river basins, the dance called tari tanggai, Palembang, and musical arts with a Muslim theme or flavor in the uplands and lowlands.

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38

Collins, Nick. Origins of Algorithmic Thinking in Music. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.2.

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Musicians’ relationships with algorithms have deep precedents in the confluence of music and mathematics across millennia and across cultures. Technological and musico-mathematical precedents in the ancient world predate the Arabic etymology of the term ‘algorithm’. From Guido d’Arezzo’s hand to rule systems in music theory and eighteenth-century ars combinatoria, there is a rich background to twentieth-century rule-led music making. Robotic music, too, has precedents, and there is an interesting proto-computational thread linking the automata builder Vaucanson to early programmable weaving looms. Ada Lovelace’s writing, Joseph Schillinger’s composition system, and John Pierce’s 1950 stochastic music science fiction article provide productive insight into the origins of algorithmic music. Indeed, the world’s musics reveal a panoply of interesting practices, such as campanology, Nzakara court harp music, time structures in Indian classical music, and many more examples of the rich combinations of music and mathematics often predating musical computer science.

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39

Music, Music, Music. Teacher Created Materials, Incorporated, 2018.

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40

Andrews, Joseph D. Music Music Music. ProStar Publications, Inc., 2004.

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41

Sablosky, Irving L. American Music. Univ of Chicago Pr (Tx), 1985.

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42

Hickmott, Sarah. Music, Philosophy and Gender in Nancy, Lacoue-Labarthe, Badiou. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458313.001.0001.

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This book looks at the way music is used, characterised and understood in the work of Nancy, Labarthe and Badiou. Despite the differences in their philosophical-theoretical positions, they all invoke music – both directly and indirectly – to negotiate their relationship to ontology, politics, ethics and aesthetics. The book situates these texts in a longer genealogy of musico-philosophical interactions and also brings them into dialogue with recent musicological approaches, thus showing how an inherited idea of what music ‘is’ is often assumed rather than critically re-evaluated. It argues that though music is instrumentalized by progressive thinkers as a way of shifting theoretical/philosophical paradigms, it nonetheless does so in a way that has a strong sense of continuity with previous thinking on music. Secondly, the book highlights the way in which music in its metaphysical-ontological guise is often conceived as synonymous with Western high art classical music (which is itself constructed as absolute and transcendent, and ontologically independent of its means of (re)production or context) whilst non-literate, popular, folk and world musics – on the occasions that they are addressed and not simply ignored or denigrated – are notably considered almost exclusively in terms of their social-cultural or technological contexts. Finally, the book demonstrates that much of this takes place through a simultaneous instrumentalization of gender as an organisational category for philosophy, and one which all too often has the consequence of sending women – along with music – to the beyond of pre-, inter-, or post-signification.

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43

Music, Music, Music (Grade 1). Teacher Created Materials, Incorporated, 2018.

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44

Territorial Pissings: L'ultima intervista e altre conversazioni. Roma: Minimum Fax, 2024.

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45

Ritter, Judith, and Mary Lee Wholey. Radiowaves Music : Music. Heinle & Heinle Pub, 1995.

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46

Music Quizzes: Music. Miles Kelly Publishing Ltd, 2003.

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47

My Music: Music. Independently Published, 2020.

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48

Music Here, Music ThereMusic, Music, Everywhere. Blurb, 2017.

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49

Sadie, Stanle, and Grove George. The New Grove Dictionary of Music and Musicians (20 Volume Set. Oxford University Press, USA, 2000.

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50

A twentieth-century musical chronicle: Events 1900-1988. New York: Greenwood Press, 1989.

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