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Journal articles on the topic 'Mushic'

To see the other types of publications on this topic, follow the link: Mushic.

Author: Grafiati

Published: 25 July 2024

Last updated: 30 July 2024

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1

Jin, Mi-Hyun, Ju-Hyun Lee, Heon-Ho Choi, Sang-Jeong Lee, Young-Cheol Shin, Byung-Hwan Lee, Woo-Gwun Ahn, and Chan-Sik Park. "Performance Comparison of 2D MUSIC and Root-MUSIC Algorithms for Anti-jamming in GPS Receiver." Transactions of The Korean Institute of Electrical Engineers 60, no. 11 (November 1, 2011): 2131–38. http://dx.doi.org/10.5370/kiee.2011.60.11.2131.

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2

Warnet, Victoria. "The Relationship Between Music Familiarity, Music Preference, and Concert Attendance in Music Majors and Non-Music Majors." Research Perspectives in Music Education 23, no. 1 (2023): 3–13. http://dx.doi.org/10.55814/bc850bde.

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3

黃俊銘, 黃俊銘. "【預刊】音樂、文藝機構與身分：中國的《人民音樂》（1950-2019）如何論述台灣流行音樂." 人文及社會科學集刊 36, no. 2（預刊） (June 2024): 1–42. http://dx.doi.org/10.53106/1018189x202202002.

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4

Waxman, Rebecca, and Abigail McQuater. "Editorial." MUSIC.OLOGY.ECA 1 (September 11, 2020): 7. http://dx.doi.org/10.2218/music.2020.5694.

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5

Anderson, Natasha. "Narrative and Number in Busby Berkeley’s Footlight Parade." MUSIC.OLOGY.ECA 1 (September 11, 2020): 40–59. http://dx.doi.org/10.2218/music.2020.5697.

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The backstage film musical was a successful genre of the brief ‘Pre-Code’ era of American film history (1929-1934), in which audiences witnessed the inner workings of a theatre studio and watched the creation and performance of a musical production unfold. This essay focusses on one of these film musicals, Footlight Parade, and examines its key musical numbers: ‘Honeymoon Hotel’, ‘By a Waterfall’ and ‘Shanghai Lil’. Using these examples, the article analyses the relationship between musical number and film narrative, while relating the film to wider issues surrounding musicals in the ‘Pre-Code’ era and beyond.

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6

Morton, Melissa. "‘Where Did That Voice Come From?’." MUSIC.OLOGY.ECA 1 (September 11, 2020): 8–25. http://dx.doi.org/10.2218/music.2020.5695.

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For the last two decades, the viewers of televised talent competitions have witnessed an intriguing phenomenon—singers with voices that fail to ‘match’ their bodies. With a particular focus on female child singers, this article explores the phenomenon of the ‘mismatched girl’. Combining theories from voice studies and musicology, the article examines the depiction of the relationship between voice and body within the talent competitions. Ultimately, mismatched girls prompt journalists, fans, and musicians alike to consider fundamental questions concerning the human voice—where do voices come from and what do they mean?

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7

Behrens, David. "Originality or Familiarity?" MUSIC.OLOGY.ECA 1 (September 11, 2020): 60–77. http://dx.doi.org/10.2218/music.2020.5698.

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This article explores the dramaturgical strategies used to present chosen recital repertoire, initially outlining what lead to the formation of the programme, before discussing elements of musical narrativity and how that can aid in conveying meaning on a deeper level. In addition, the article investigates the importance of utilising novelty in balance with familiarity to entice an audience, whilst keeping an awareness of the drawbacks that each can impose. Finally, the presence of a unifying theme will be discussed with regards to how it can potentially add originality, resulting in a programme that can be simultaneously engaging and informative.

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8

MacLeod, Brian James. "Tunes of Glory." MUSIC.OLOGY.ECA 1 (September 11, 2020): 78–91. http://dx.doi.org/10.2218/music.2020.5699.

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The late-16th through to the early-17th century was a period of unprecedented upheaval and conflict throughout the British Isles. This article explores the transformative rise in social status of pipers in Highland society during this period of social, political, economic, and cultural change. Bagpipes, traditionally assigned a low-caste role in society in Ireland and Scotland, were transformed into a vehicle for a highly developed form of musical composition, ceòl mòr (‘great music’). The article examines the factors which allowed the families of hereditary pipers to achieve this significant change in fortune, whilst the highlighting the unique compositional form of pipe music which enabled their entry into the upper echelons of Gaelic society in Scotland.

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9

Macaulay, Cameron. "The Cosmic & The Corporeal." MUSIC.OLOGY.ECA 1 (September 11, 2020): 26–39. http://dx.doi.org/10.2218/music.2020.5696.

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Under the Skin is a film deeply preoccupied with the human experience. Our protagonist is ‘Laura,’ an alien in disguise who stalks Glasgow in search of male prey. We are entirely situated with her throughout — seeing the streets through her eyes, sitting with her in the van during each hunt. Our proximity to her complicates the ontological question beyond a blunt dichotomy of Laura and the human subjects. Rather, it’s a dynamic continuum whereby Laura might glean empathy while ordinary people are estranged. The article argues that audiovision is the primary channel through which entanglements between the cosmic and the corporeal are explored in the film. Through director Jonathan Glazer and composer Mica Levy’s maintaining of the ‘alien lens’ (as well as an alien audition) the subject of humanity is ravelled.

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10

MOON, Ok bae. "서양음악 수용의 한 축으로서의 교회음악." Tongyang Ŭmak 34 (December 31, 2012): 89–107. http://dx.doi.org/10.33452/amri.2012.34.89.

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11

Wildan, Solihun, Indana Zulfa Muntafiah, Ratna Eka Septiana, and Nur Wakhid. "Kaidah Rasm Utsmani dan korelasinya dengan qiroah sab’ah." Jurnal al Irfani Ilmu Al Qur an dan Tafsir 3, no. 2 (December 24, 2022): 1–15. http://dx.doi.org/10.51700/irfani.v3i2.385.

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Ilmu rasm Al-Qur’an yaitu ilmu yang mempelajari tentang penulisan mushat Al- Qur’an yang dilakukan dengan cara khusus, baik dalam penulisan lafal-lafalnya maupun Bentuk-bentuk huruf yang digunakannya.Penulisa Al-Qur’an pada masa Nabi Muhammad Saw. Dilakukan oleh para sahabat- sahabatnya baik dalam penulisannya maupun urutannya dengan tujuan untuk menyatukan Kaum muslimin pada satu macam mushab dengan meyeragamkan bacaan serta menyatukan Tertip susunan ayat-ayatnya. Dengan demikian tidak terjadi perbedaan pemahaman antara Mushab dengan mushab yang lain.

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12

Müezzinoğlu, Alev, and Başak Gorgoretti. "THE NEW MUSIC CURRICULUM WITH A NEW MUSIC EDUCATION CONCEPT." E-journal of New World Sciences Academy 14, no. 3 (July 22, 2019): 247–53. http://dx.doi.org/10.12739/nwsa.2019.14.3.d0242.

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13

Mitani, Yusuke, Takuya Kubo, Yuya Chiba, Yoshiko Maruyama, Kenji Moriya, and Masahiro Nakagawa. "Brain Activity During Listening to And Imagining Music: Does Imagining Music Provide a Similar Effect as Listening to Music?" Journal of the Institute of Industrial Applications Engineers 7, no. 4 (October 25, 2019): 127–31. http://dx.doi.org/10.12792/jiiae.7.127.

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14

Rauduvaite, Asta. "Music education of the present: Does popular music develop learners’ values?" New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 1 (August 26, 2017): 139–47. http://dx.doi.org/10.18844/prosoc.v4i1.2245.

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15

Ionescu, Mădălina Gabriela. "DESECRALIZING OF MUSIC." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 2, no. 2 (2018): 313–17. http://dx.doi.org/10.26520/mcdsare.2018.2.313-317.

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16

Spurný, Lubomír. "Czech Music Semiology." Musicologica Brunensia 49, no. 2 (2014): 53–58. http://dx.doi.org/10.5817/mb2014-2-4.

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17

MORDECAI, PAMELA. "Music, Music, Music." Samuel Beckett Today / Aujourd'hui 12, no. 1 (December 8, 2002): 178–84. http://dx.doi.org/10.1163/18757405-90000134.

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18

MORDECAI, PAMELA. "Music, Music, Music." Matatu 12, no. 1 (April 26, 1994): 178–84. http://dx.doi.org/10.1163/18757421-90000094.

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19

Okay, H. Hakan. "The views of music teachers and music teacher candidates about value training." International Journal of Academic Research 6, no. 2 (March 30, 2014): 92–102. http://dx.doi.org/10.7813/2075-4124.2014/6-2/b.15.

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20

蘇育代, 蘇育代. "國際音樂教育的新趨勢：走向跨領域統整性課程的新方向." 教育研究月刊 357, no. 357 (January 2024): 110–22. http://dx.doi.org/10.53106/168063602024010357008.

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21

Kim, Soyeon. "영화음악에 대한 한국 음악교육 동향 분석." Korean Music Education Society 53, no. 1 (February 29, 2024): 25–45. http://dx.doi.org/10.30775/kmes.53.1.25.

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본 연구의 목적은 영화음악 교육 연구의 동향을 분석하고 향후 연구의 방향을 제안하는 데 있다. 2013년~2023년 8월까지 영화음악 교육에 해당하는 논문은 국내 석사학위논문 31편, KCI 학술논문 5편(총 36편)이 검색되었다. 분석 결과, 매년 9편 내의 논문이 발표되었고 연구 대상은 중고등학생에 집중되었다. 영화음악 활용의 목적은 기존 음악 이해(69.44%), 영화음악 이해(30.56%)로 2가지였다. 활용된 영화는 음악영화(47.22%)가 많고 일부 일반 극영화(11.56%,)가 있었다. 음악 활동은 이론 강의식 수업이 중심이 되는 감상(63.89%) 또는 간단한 음악 창작(33.33%)이 제시되었다. 교육학적 이론 및 교수학습 방법은 14편만이 적용되었고, 음악 및 영상 제작 프로그램은 7편에 활용되었다. 이에 따라 영화음악 자체에 대한 교육적 관심을 높이는 것이 중요하며, 영화음악의 기능과 역할을 교육하고 학생 주도의 활동을 중심으로 한 구체적이고 체계적인 음악 수업을 개발할 것을 제안하였다.

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22

Pal, Dr Tanmoy. "An Analysis of Indian Music Aesthetics with Particular Reference to Hindustani Classical Music." Praxis International Journal of Social Science and Literature 6, no. 5 (May 25, 2023): 1–9. http://dx.doi.org/10.51879/pijssl/060501.

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Learning a language is no easy process. Although English is a worldwide language, mastering all four micro skills is difficult. There are several problems and stumbling blocks to mastering English, particularly for non-native speakers such as Myanmar students. For example, insufficient teaching and learning materials, large numbers of students in classes, utilizing their native language in spite of English, not being in an English-speaking setting, less confident in speaking English and using the incorrect syllabus. These are only a few examples. I occasionally teach English in Myanmar. In both teaching and learning English in Myanmar, I encountered several hurdles and barriers. It motivates me to conduct particular studies on the difficulties that students and instructors face in Myanmar.I used the quantitative research approach to determine the specific issues and impediments experienced in teaching and learning English. I implemented Google Form to identify the most relevant 15 questions for instructors, which took about two months, and I received 47 replies out of 50 surveys on obstacles in teaching English. Through the survey findings, we could clearly see what hurdles and obstacles Myanmar instructors had throughout their teaching and how they dealt with all of these concerns, as well as their dos and don'ts remarks and wise advise. Then I concluded by outlining how we should use the recommended strategies and implementations to overcome all of the obstacles that we have when teaching and learning English.

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23

W, Allaerts. "On Music and Tradition." Philosophy International Journal 7, no. 2 (April 1, 2024): 1–13. http://dx.doi.org/10.23880/phij-16000324.

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In this paper we elaborate on the question how to bridge the gap between contemporary (New) music and the tradition of the past, often called ‘classical’ music. First we analyze the notion of tradition (in classical music) as being distinct from traditional music, nationalism and traditionalism. A central role in this paper is dedicated to the role of counterpoint education following J.J. Fux’s Gradus ad Parnassum in the development of Central-European classical music between the late Renaissance and late Romantic periods. The developments in the 20th century New Music reveal several important trend breaks. The controversies raised during the early Renaissance, regarding the practice of polyphonic singing, are discussed with respect to their impact on music development in later ages. From these controversies and the re-discovery of Nicholas de Cusa’s view on mysticism, the experience of the non-experience in polyphonic music is elucidated. Herewith, an illuminative heuristic is found in the enfolding-unfolding paradigm both in music and pictural arts, from the Renaissance till the present.

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24

Tirkey, Ajay, and Dr Kamalraj R. "Creating Music Using AI." International Journal of Research Publication and Reviews 5, no. 3 (March 2, 2024): 1300–1303. http://dx.doi.org/10.55248/gengpi.5.0324.0657.

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25

X., Shermatova. "A LOOK AT THE MUSIC EDUCATION IN SCHOOLS: FORMS AND METHODS OF MUSIC EDUCATION." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 10 (October 1, 2021): 253–58. http://dx.doi.org/10.37547/pedagogics-crjp-02-10-45.

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26

Çakıcı, Zindan. "Din, Kimlik ve Müzik: Genç Erkeklerin Müzik Dinleme Pratikleri Üzerine Nitel Bir Araştırma." Etkileşim 6, no. 11 (April 2023): 316–37. http://dx.doi.org/10.32739/etkilesim.2023.6.11.199.

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Türkiye'deki Sünni dindar kesimin İslam’da müziğin yasaklandığına ilişkin inancı, 1980 sonrasında büyük bir değişime uğramıştır. Bu dönemde, Sünni dindar kesimin söylemlerini müzik dili ve üslubuyla aktarmaya çalışan İslami popüler müzik türü ortaya çıkmıştır. İslami popüler müzik türünün ortaya çıkması ile dini müziklerde birçok müzik aleti kullanılmaya başlanmıştır. Literatürde günümüz dindar gençlerin hem İslami popüler müzik ile olan ilişkilerine hem de müzik dinleme pratiklerine dair çok az sayıda çalışmanın yapıldığı görülmüştür. Bu çalışma, müziğe mesafeli yaklaşan Nakşibendi geleneğine mensup genç ve genç yetişkin erkek bireylerin hem İslami popüler müzik ile olan ilişkilerini hem de genel olarak müzik dinleme pratiklerini derinlemesine incelemektedir. Araştırma sonucunda, katılımcıların küresel ölçüde tanınan ve din temalı eserler üreten Maher Zain ve Sami Yusuf gibi sanatçıların yanı sıra halk müziği ve rap türünde üretim yapan sanatçıları dinledikleri görülmüştür. Ayrıca, katılımcıların gündelik hayat içerisindeki müzik ile olan ilişkileri üzerinde dini inançlarının yanı sıra doğdukları şehirlerin, yaşadıkları mekânların, eğitim düzeylerinin ve etnik kökenlerinin etkili olduğu ortaya çıkmıştır. Katılımcıların, Nakşibendilik geleneğindeki müzik ve sese dair kuralları kısmen takip etmekle birlikte müziği çağa bağlı olarak geniş bir yelpazede ele almaya başladıkları tespit edilmiştir. Fakat katılımcıların kadın sesine ve kadının müzikteki varlığına dair olumsuz yaklaşımlarının devam ettiği saptanmıştır.

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27

Kim, Yong Hwan. "Program Music, Medium Music, Absolute Music." Journal of the Musicological Society of Korea 23, no. 2 (November 30, 2020): 9–32. http://dx.doi.org/10.16939/jmsk.2020.23.2.9.

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28

Ibragimovich, Mustafoev Bakhtiyor. "Reforms of Music Culture Education." International Journal of Psychosocial Rehabilitation 24, no. 4 (April 30, 2020): 7155–60. http://dx.doi.org/10.37200/ijpr/v24i4/pr2020530.

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29

Karamızrak, Neslihan. "Kardiyovasküler Hastalıklarda Müzik ile Terapi." Kosuyolu Heart Journal 22, no. 2 (August 1, 2019): 120–25. http://dx.doi.org/10.5578/khj.68486.

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30

Nikolaevs’ka, Julija. "Musik des Widerstands und der Hoffnung." osteuropa 72, no. 6-8 (2022): 375. http://dx.doi.org/10.35998/oe-2022-0172.

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31

Marchenko, Valerii. "Theatricality in Contemporary Symphonic Music." Revista Gestão Inovação e Tecnologias 11, no. 3 (June 30, 2021): 861–69. http://dx.doi.org/10.47059/revistageintec.v11i3.1981.

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32

N.T., Khamdamova. "Amir Khusrau Dehlavi And Music." American Journal of Interdisciplinary Innovations and Research 03, no. 05 (May 7, 2021): 156–60. http://dx.doi.org/10.37547/tajiir/volume03issue05-26.

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Despite being a great poet, Amir Khusrau Dehlavi is recognized as one of the representatives who made a worthy contribution to the culture and art of music. In the past, various aspects of his work have been studied separately and extensive research has been done. In the art of music, he is recognized as a composer, instrumentalist, musicologist.

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33

Makhammatov, Abdumannon. "Computerization Technology Of Music Education." American Journal of Social Science and Education Innovations 02, no. 10 (October 31, 2020): 418–21. http://dx.doi.org/10.37547/tajssei/volume02issue10-67.

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34

Neuschwander, DeLora. "Music in the Third Reich." Musical Offerings 3, no. 2 (2012): 93–108. http://dx.doi.org/10.15385/jmo.2012.3.2.3.

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35

Bălan, Budoiu. "Antreprenoriatul muzical și cyperspațiul." Tehnologii informatice și de comunicație în domeniul muzical / Information and communication Technologies in Musical Field XI, no. 1 (November 1, 2020): 63–73. http://dx.doi.org/10.47809/ictmf.2020.01.07.

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36

Neuschwander, DeLora J. "Музыка в Третьем рейхе." Ideas and Ideals 15, no. 1-2 (March 29, 2023): 444–58. http://dx.doi.org/10.17212/2075-0862-2023-15.1.2-444-458.

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Music played a prominent role in the formation of Nazi culture in Germany and was widely used in propaganda and indoctrination throughout the country; the Nazi party combined music and politics and sought to shape their ideal culture by elevating their ideas of pure music to the highest status and outlawing what they defined as inferior. The translation of the scholarly article examines Hitler’s specific views on music and explores some of the factors and personalities that contributed to his views and were directly rooted in the Nazi party, as well as how the Nazis used music to spread their propaganda, what was considered ‘pure’ music, and what influence the idea of ‘pure’ art had on Jewish musicians and composers. Hitler considered himself an artist and believed that art and music were a vital part of life and culture. He was deeply influenced by both Wagner’s views and his music, and Hitler saw many parallels between Wagner’s conception of Germany and the stories the composer used in his operas. The Nazi Party used music to a great extent to reinforce its political activities and indoctrinate individual citizens. Not only music, but Nazi doctrine played a significant role in the fate of Jewish composers and performers and was used to portray Nazi ideology. Many Jewish musicians lost their jobs and were excluded from major cultural and musical organizations. Arnold Schoenberg is a prime example of the influence of Nazi ideology on the music and perception of a Jewish composer, and Wagner is a perfect example of a composer who conformed to Nazi criteria of pure Aryanism. This study attempts to examine these historical facts in an attempt to promote a better understanding of the socio-cultural aspects of the Third Reich in the hope that an informed person will ensure that such views never penetrate society again.

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37

Ergasheva, Chinora. "“NAZIRA” TRADITIONS IN UZBEK MUSIC." American Journal Of Social Sciences And Humanity Research 03, no. 02 (February 1, 2023): 1–9. http://dx.doi.org/10.37547/ajsshr/volume03issue02-01.

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The article is devoted to the research problem of the Maqom system, along with its creative and performing traditions. The paper reveals the significance of the “Nazira” tradition in Uzbek music and further illustrates features of this tradition known from the history of oriental literature and Uzbek traditional music.

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38

Sandu-Dediu, Valentina. "Nationale Schule und Neue Musik." osteuropa 69, no. 6-8 (2019): 291–304. http://dx.doi.org/10.35998/oe-2019-0092.

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39

Djumaboyeva, M. "PEDAGOGICAL SKILLS OF MUSIC TEACHERS." American Journal Of Social Sciences And Humanity Research 4, no. 1 (January 1, 2024): 150–54. http://dx.doi.org/10.37547/ajsshr/volume04issue01-24.

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This article talks about the importance of improving the professional-pedagogical skills of music teachers and professional competence, which is one of its branches. Today, in establishing the effectiveness of music teachers' activities and pedagogical activities, first of all, the importance of pedagogical skills and the possession of the types of competences necessary in each pedagogical process has been highlighted.

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40

Trifunović, Vesna S. "ПРОГРАМ НАСТАВЕ И УЧЕЊА МУЗИЧКЕ КУЛТУРЕ И КУЛТУРНИ ИДЕНТИТЕТ." Узданица XX, no. 3 (2023): 257–76. http://dx.doi.org/10.46793/uzdanica20.s.257t.

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The paper deals with teaching Music in the first cycle of primary education in the Republic of Serbia from the point of view of the presence of cultural identity content in Music curricula. The goal of the paper is to investigate to what extent the Music curricula enable the achievement of the learning outcomes related to creating cultural identity, and to what extent they offer a clear guideline for learning about cultural identity. Therefore, a review of both international and national documents related to the development of culture and identity in education are given. In addition, the Music curricula are analysed in order to determine whether they contain elements that support learning about cultural identity. The descriptive research analysis method and the secondary analysis of the documents (laws, curricula) related to education and cultural identity are used in the research. The main findings of the research show that the analysed curricula 1) are aligned with international and national documents that regulate the field of education and develop a strategy for connecting cultural and educational policies; 2) they enable learning about culture and identity and create a basis for the creation of cultural identity. It is necessary, however, that Music curricula broaden their cultural basis and serve the purpose of developing children’s intercultural competencies.

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41

Sahare, Yash, Krunal Kamble, Tushar Bhakte, Rohit Warkade, Amrapali Besekar, Sumedh Patil, and Dr Harish Gorewar. "Emotion Based Music Recommendation System." International Journal of Research Publication and Reviews 4, no. 12 (December 2, 2023): 818–34. http://dx.doi.org/10.55248/gengpi.4.1223.123327.

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42

Umidakhan, Khamidova. "INFLUENCE OF MUSIC ON SPIRITUALITY." European International Journal of Multidisciplinary Research and Management Studies 3, no. 12 (December 1, 2023): 196–202. http://dx.doi.org/10.55640/eijmrms-03-12-35.

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The article discusses the role of music in human life, its educational significance, and its role in the system of aesthetic education. Based on the opinions of famous scientists, it is shown that music is an integral part of the aesthetic education of young people in the family, preschool educational organizations, as well as in the school system. Taking into account that music is a powerful educational tool, it is emphasized that it is necessary to pay more serious attention to music lessons in preschool educational organizations.

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Gupta, Akshat. "Effect of Music on Plants." International Journal of Science and Research (IJSR) 12, no. 10 (October 5, 2023): 28–29. http://dx.doi.org/10.21275/sr23924093613.

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Blackstone, Victoria. "Music cures music." British Homeopathic Journal 82, no. 04 (October 1993): 258–63. http://dx.doi.org/10.1016/s0007-0785(05)80660-x.

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AbstractEach of us is a piece of music playing all the time. When that music is phased with a similar piece of music, healing is produced. Music cures music and silence is restored. Silence being produced equals cure. Every homoeopathic medicine is a piece of music with tune, pace and rhythm. If we can correctly identify the music of the patient, and the music of the medicine, we will go towards cure. The tune is the similimum, and the pace and rhythm are the potency and the repetition. The theme of this seminar is music.

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Watanabe, Satoshi, Takahiro Sugiyama, Naofumi Nakaya, and Naruki Shirahama. "Impressions of ”Nishi-ure Dengaku" Music (One of Japanese Traditional Music) When Using the Same Evaluation Scale as Western Music Based on a Visual Analog Scale." Journal of the Institute of Industrial Applications Engineers 11, no. 4 (October 25, 2023): 96–101. http://dx.doi.org/10.12792/jiiae.11.96.

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Schneck, D. J. "From the Guest Editor Music! Music! Music!" IEEE Engineering in Medicine and Biology Magazine 18, no. 2 (March 1999): 42–43. http://dx.doi.org/10.1109/memb.1999.752974.

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Kulbizhekov, Victor N. "Verbalization of Music Processes (The Engine of thought Experiment in the Music of the Early-Modern Period)." International Journal of Psychosocial Rehabilitation 24, no. 5 (April 20, 2020): 4906–24. http://dx.doi.org/10.37200/ijpr/v24i5/pr2020201.

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Akyuzluer, Fatima. "The effects of the music teacher trainıng program on the problem solving skills of music teacher candidates." International Journal of Academic Research 6, no. 3 (May 30, 2014): 222–28. http://dx.doi.org/10.7813/2075-4124.2014/6-3/b.33.

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Khudayberganov, Samandar Kuzievich, and Sarvarbek Uktamboy O`G`Li Yo`Ldoshev. "The Implementation Of Makom Music Genre Into The Creative Works Of Uzbek Music Composers (In 1930-1990)." American Journal of Interdisciplinary Innovations and Research 03, no. 05 (May 7, 2021): 72–75. http://dx.doi.org/10.37547/tajiir/volume03issue05-12.

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This article reveals the essence of the study of the practical basis of Uzbek makoms, the use of maqom, national melodies by the Uzbek music composers. The delineation of Uzbek makoms in the music compositions, the performers of a wide range of national makom music, and the aspects that should be considered, are explained. The creative works by a number of Uzbek composers are also considered.

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Ekanayake, E. M. T. T., and E. W. M. S. Boyagoda. "Representation of Violence in Music Videos Special Reference to Most Viewed Ten Sinhala Music Videos in 2016." International Journal of Trend in Scientific Research and Development Volume-3, Issue-4 (June 30, 2019): 575–77. http://dx.doi.org/10.31142/ijtsrd23723.

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