Relevant bibliographies by topics / Music, n.e.c

Academic literature on the topic 'Music, n.e.c'

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

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Journal articles on the topic "Music, n.e.c"

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Marx-Weber, Magda. "„Musiche per le tre ore di agonia di N. S. G. C.“." Die Musikforschung 33, no. 2 (September 22, 2021): 136–60. http://dx.doi.org/10.52412/mf.1980.h2.1678.

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2

Rickards, Guy. "Music by women composers." Tempo 59, no. 234 (September 21, 2005): 66–72. http://dx.doi.org/10.1017/s0040298205300325.

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HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.
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3

Linnik, M. S. "Refl ection of the scientifi c-critical position of R. Genika in his letters to N. Findeisen." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 14–26. http://dx.doi.org/10.34064/khnum2-13.02.

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Background. The present article is devoted to the consideration of the critical activity of R. Genika, one of the most prominent creative personalities in the musical life of Kharkov during the period of the turn of the 19th and 20th centuries, the founder of the Kharkov professional music school. The present study is based on the material of the correspondence between R. Genika and his long-term mentor N. Findeisen – the chief editor of the Russian Musical Newspaper, the publisher of historical essays. The system of R. Genika’s critical views, his assessment of the intonation situation of the musical era represented by him have been analyzed; we have stated his critical position toward the creative work of composers of the past and present. Formulation of the problem. In the musical life of Kharkov, the period of the turn of the 19th and 20th centuries, Rostislav Vladimirovich Genika (1859–1942?) was one of the brightest creative personalities. His activities were distinguished by the scale and versatility, and the creative achievements of this outstanding musician in the spheres of this kind of activities are an invaluable contribution to the national musical art. Through the prism of the achievements of R. Genika as one of the founders of the Kharkov professional music school, not only the panorama of the concert life of Kharkov during the considered period is revealed, but also the weighty and relevant scientifi c, organizational, pedagogical, artistic and creative directions regarding the complex of problems associated with history and perspectives of the musical art of Kharkov as one of the leading centers of musical life, the fi rst capital of Ukraine. The object of the research. The creative heritage of R. Genika, a universally gifted person is covered in the existing publications mainly in the information and source fi eld. R. Genika’s research and musical-publicistic activities were not fully covered. Only recently, the author of the present article has got an access to the archived materials which made it possible to conduct a comprehensive analysis of the role and importance of the personality of this outstanding Kharkov musician in the context of the musical art of the region and Ukraine as a whole. All of this combined to form the subject of the comprehensive review and the relevance of this article. The material of the study was the archival letters of R. Genika to N. Findeisen. The goal is to point out the position of R. Genika in the selection of the material for his research by highlighting and analyzing some letters from this correspondence. Methodology. The creative work of any music critic and reviewer, a music writer who is interested in the history of music, in particular, pianism and piano art, is assessed primarily by the material to which he/she refers. Here the source of conclusions about the direction of the search of R. Genika in all these areas can be his correspondence with a prominent fi gure of the Imperial Russian Musical Society (IRMS), one of the leading musical writers and critics of Russia of the late 19th – early 20th centuries, Nikolai Fyodorovich Findeisen (1868–1928). The correspondence with N. Findeisen testifi es to the process of R. Genika’s work on a number of his key scientifi c researches. The author of this study was able to find in the archives these short letters, where the requests of the Kharkov musician to this venerable musicologist and critic about the literature and music notes he needed for his work could be found. And the very list of requests made by R. Genika makes it possible to systematize the range of his creative interests. For example, in one of the letters R. Genika asks N. Findeisen to send him books about F. Liszt. The detailed article about F. Liszt was included into the second volume of the essays on “The History of Music” – the main capital work on which R. Genika had been working for almost all his life. The focus of this study is rather popularizing, addressed to various categories of listeners, primarily, to educated “good listeners” who want to get acquainted closer with the styles and circumstances of the life and creative work of the leading representatives of the world music art. In the fi eld of musicological studies R. Genika was, above all, a historian. This profi le of his research activities was the closest to the tendency that can be defi ned as a popularization or educational one. In his historical research he had clear preferences. This is evidenced by a number of his rather subjective statements about contemporary composers, to whom he preferred the classics of the older generation. R. Genika, as a historian, was well aware of the retrospective necessary for historical musicological studies, and therefore avoided writing in an estimate about authors contemporary to him. He, as a high-class musician, does not consider it possible to express his personal subjective judgments in his historical concept, and so he omits the section on “modern music” in his historical essays. Results. In the two-volume essays on “The History of Music” there are other thoughts that reveal the course of the scientist’s work on various parts of his book. Extremely interesting, besides the already mentioned above R. Genika’s attitude to the “contemporaries”, is his steady interest in the tradition, which he himself called the “Romanesque”. He treated his national school with a natural reverence, considering it to be underestimated in foreign, fi rst of all, German “histories of music”. Such a position is extremely indicative of his work as a music historian. It is the “national”, original, bright and unique that attracts his attention in the styles of the national schools of Europe of that time – the Scandinavian, the Czech, the Polish and, especially great, in his opinion, the Russian. He ends his essays on “The History of Music” (the main text) with the chapter on P. Tchaikovsky, and the modern authors of other schools are covered in review supplement articles. The question of national schools for that period was quite open and controversial even within the framework of generally accepted classifi cations. At that time, the schools of the classical type were considered key, and “nationalist teachings” (“national schools”) were considered “supplementary”, secondary and insignifi cant in the general processes of the world musical history. Here there is a thought, indicative of the very process of the new periodization of the essays on “The History of Music”, which, according to R. Genika, should have differed from the existing German samples. Conclusion. R. Genika’s letters to N. Findeisen make it possible to follow the course of the process of writing the capital essays on “The History of Music”. The very fact that the Kharkov musicologist turned to the global problems of the world music history testifi es to the importance of the creative fi gure of R. Genika in the context of musical and historical research of the last decade of the 19th century – the fi rst two decades of the 20th century. R. Genika was among the fi rst domestic music historians to create his own concept of periodization and artistic evaluation of the most important phenomena of the European musical history, which is the proof of the encyclopedic and universal nature of his many-sided musician talent. These qualities manifest themselves in all directions and the results of his activities, prompting the modern musicologistresearcher to systematize R. Genika’s critical heritage in a special way.
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Kuntz, Tammy L. "High School Students’ Participation in Music Activities Beyond the School Day." Update: Applications of Research in Music Education 30, no. 1 (September 1, 2011): 23–31. http://dx.doi.org/10.1177/8755123311418478.

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The purpose of this qualitative study was to investigate the music activities that high school band students are involved in and how these activities might lead to lifelong music participation. Specific research questions were the following: (a) In what activities are high school band students involved? (b) What are high school band directors doing to encourage lifelong participation in music? (c) How do students describe their plans for musical involvement in the future? Three focus group discussions at one rural school ( n = 5), one suburban school ( n = 5), and one urban school ( n = 4) were conducted to discover ways students participated in music activities beyond the school day. These opportunities ranged from cultural groups, to community youth events, to time with friends listening to music. Influences of family members and the desire to maintain connections seem to be beneficial in creating musicians with a desire for music participation as adults.
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Masarogulları, Guncel. "THE EFFECTS OF MUSIC THERAPY ON ANXIETY AND PAIN SYMPTOMS OF CHILDREN WITH CANCER." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 7 (November 10, 2017): 139–53. http://dx.doi.org/10.18844/prosoc.v4i3.2654.

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Although music therapy is well documented in medical settings, the effects of the music therapy has not been well established yet. This study aimed to investigate the effectiveness of the music therapy on anxiety, and pain symptoms of children with cancer. Participants (aged ranged 6-16) were randomly allocated to one of two music therapy groups: 1) earphones with classical music, no choice (n = 20) or 2) earphones with classical music, free choice (n = 20) and a control group (n = 20) (earphones without music). In all groups, children listened to music (or the white noise) for 10 minutes before the chemotherapy. All of the symptoms were measured before the music therapy, during the chemotherapy (after the music therapy), and after the chemotherapy. State Trait Anxiety Inventory for Children (STAI-C), and Wong-Baker Faces Pain Rating Scale was used to measure the anxiety, and pain scores of the children. One-Way ANOVA and Mixed ANOVA analysis were used to analyse the effectiveness of the music. Results showed that the anxiety level of children decreased significantly in the music groups during and after the chemotherapy. However, music therapy did not affect the pain level of children Keywords: Music therapy, anxiety, pain, cancer;
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Masarogulları, Guncel. "THE EFFECTS OF MUSIC THERAPY ON ANXIETY AND PAIN SYMPTOMS OF CHILDREN WITH CANCER." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 7 (August 5, 2017): 139–53. http://dx.doi.org/10.18844/prosoc.v4i7.2654.

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Although music therapy is well documented in medical settings, the effects of the music therapy has not been well established yet. This study aimed to investigate the effectiveness of the music therapy on anxiety, and pain symptoms of children with cancer. Participants (aged ranged 6-16) were randomly allocated to one of two music therapy groups: 1) earphones with classical music, no choice (n = 20) or 2) earphones with classical music, free choice (n = 20) and a control group (n = 20) (earphones without music). In all groups, children listened to music (or the white noise) for 10 minutes before the chemotherapy. All of the symptoms were measured before the music therapy, during the chemotherapy (after the music therapy), and after the chemotherapy. State Trait Anxiety Inventory for Children (STAI-C), and Wong-Baker Faces Pain Rating Scale was used to measure the anxiety, and pain scores of the children. One-Way ANOVA and Mixed ANOVA analysis were used to analyse the effectiveness of the music. Results showed that the anxiety level of children decreased significantly in the music groups during and after the chemotherapy. However, music therapy did not affect the pain level of children Keywords: Music therapy, anxiety, pain, cancer;
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Conway, Colleen, John Eros, Kristen Pellegrino, and Chad West. "The Role of Graduate and Undergraduate Interactions in the Development of Preservice Music Teachers and Music Teacher Educators: A Self-Study in Music Teacher Education." Bulletin of the Council for Research in Music Education, no. 183 (January 1, 2010): 49–64. http://dx.doi.org/10.2307/27861472.

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Abstract This teacher education self-study examined music teacher and music teacher educator development through the formal and informal interactions of undergraduate and doctoral students designed to facilitate community. Research questions included: (a) how do undergraduate students describe their interactions with music education PhD students; (b) how do music education PhD students describe their interactions with music education undergraduate students; and (c) how can the researchers change their practices to better meet the needs of the undergraduate students? Data included: a questionnaire from sophomore, junior and senior undergraduate students (N = 34); PhD student journals; a teacher education faculty journal; 12 undergraduate student interviews; an undergraduate student focus group; and six "self study" team focus group meetings. Findings suggest that: (a) interactions were positive but it was sometimes difficult to navigate the interactions; (b) undergraduates specifically value the stories of recent teaching experience that the PhD students can provide; and (c) undergraduates seem to change their views of the PhD students as they (the undergraduates) mature as teachers. Other findings address development of the PhD students as teacher educators. Suggestions for teacher education and research conclude the paper.
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Conway, Colleen, John Eros, Kristen Pellegrino, and Chad West. "Instrumental Music Education Students’ Perceptions of Tensions Experienced During Their Undergraduate Degree." Journal of Research in Music Education 58, no. 3 (October 2010): 260–75. http://dx.doi.org/10.1177/0022429410377114.

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In response to recent concern regarding music education major retention and as an effort to contribute to the “lives of teachers” scholarship in music education, the primary research question for this study was: How do undergraduate students describe their lived experiences within the instrumental music education community? Data included a questionnaire from sophomore, junior, and senior undergraduate students ( N = 34); researcher journals; 12 undergraduate student interviews; an undergraduate student focus group; and 6 study team meetings. What the authors learned from this inquiry is organized by the following themes: (a) participants perceive themselves as “different” from other music students; (b) participants perceive music education to be “different” within the music school; and (c) participants’ musician/ teacher identity changed throughout their experience.
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Stambaugh, Laura A. "Effects of Focus of Attention on Performance by Second-Year Band Students." Journal of Research in Music Education 67, no. 2 (March 6, 2019): 233–46. http://dx.doi.org/10.1177/0022429419835841.

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This study tested the effect of the motor learning paradigm of internal and external focus of attention (FOA) with middle school band students. A total of 56 second-year band students (woodwinds n = 28; valved brass n = 18; trombones n = 10) practiced isochronous, alternating pitch patterns (e.g., eighth notes C–A–C–A–C–A–C) in three conditions: control (no FOA), internal (“think about your fingers”), and external (“think about your sound”). At retention testing approximately 24 hr later, students played each stimulus three times with no directed FOA. Performance trials were scored for the average duration of each pitch per trial, or evenness. No significant differences were found between conditions (control, internal, external) on Day 1 or Day 2 ( p > .05). Likewise, no significant differences were found within instrument groups from Day 1 to Day 2 ( p > .05). When evenness scores were examined at the level of the individual student, more woodwind and valved brass players benefited from the internal (fingers) FOA than from control or external conditions. Individual differences among trombone players were less pronounced, slightly favoring the external (sound) condition. Music teachers should consider implementing both internal and external FOAs with their beginning wind students.
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Middleton, Thierry R. F., Montse C. Ruiz, and Claudio Robazza. "Regulating Preperformance Psychobiosocial States with Music." Sport Psychologist 31, no. 3 (September 2017): 227–36. http://dx.doi.org/10.1123/tsp.2016-0081.

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The purpose of the study was to investigate the effects of music on swimmers’ preperformance psychobiosocial states. A purposeful sample of competitive swimmers (N = 17) participated in a 5-week intervention grounded in the individual zones of optimal functioning (IZOF) model. Findings showed that (a) preperformance psychobiosocial states differentiated between best and worst performances, (b) swimmers improved their ability to regulate preperformance states through the use of music, and (c) the use of music had a positive impact on swimmers’ perceived effectiveness of preperformance routines. Furthermore, swimmers’ qualitative reports indicated that music use was made more purposeful due to the introduction of a music intervention. The current study provides preliminary evidence in support of the use of music during preperformance routines as an effective tool to regulate athletes’ preperformance states. Athletes are encouraged to engage in the process of carefully selecting music in accordance with individualized profiles related to optimal performance states.
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Dissertations / Theses on the topic "Music, n.e.c"

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Archer, Russell W. "If these walls could jump 'n' jive : a study of buildings and sites associated with jazz music in Indianapolis and Richmond, Indiana (c. 1910-1960)." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1260487.

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Indiana is a state rich in musical history. Two cities, in particular-Indianapolis and Richmond-have played significant roles in the evolution and dissemination of jazz music. There have been modest attempts to acknowledge and/or educate Hoosiers about the state's role in the development of ja7.z. However, a level of apathy remains with regard to this aspect of Indiana's cultural heritage. These factors, in conjunction with new development, socioeconomic hardship, and demolition by neglect, have resulted in the loss of countless buildings and sites associated with jazz, music in Indianapolis and Richmond.In the Circle City, Indiana Avenue was a hotbed of ja77. for decades, as were many other scattered downtown sites. All but just a few of these venues are extant today. In Richmond, the Gennett recording studio welcomed the greatest of the early jazz pioneers and pressed millions of records of this genre. The Gennett site lies in ruins today, consisting of remnants of only three structures.There is a need to heighten awareness of the buildings and sites that contributed to the thriving jazz scene in these two cities for the purpose of education, preservation, and interpretation. This thesis has attempted to document and inventory the historical resources associated with jazz in Indianapolis and Richmond in order to facilitate these processes. In addition to the inventory, the two cities are examined in the context of jazz history in Indiana, and current building and site conditions are discussed.
Department of Architecture
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Silva, Israel Victor Lopes da. "Aspectos t?cnico-interpretativos no quarteto de cordas n? 2 de Guerra-Peixe." Universidade Federal do Rio Grande do Norte, 2015. http://repositorio.ufrn.br/handle/123456789/20978.

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Aspectos t?cnico-interpretativos no Quarteto de Cordas N? 2 de Guerra-Peixe vai abordar essa obra de um compositor, considerado um dos grandes expoentes da m?sica brasileira do s?culo XX, que desenvolveu v?rias vertentes em sua carreira, como music?logo, int?rprete, compositor, arranjador de r?dio e cinema, entre outras. Nesse trabalho, procuraremos visualizar na obra em quest?o seus estilos composicionais, apontando fontes que ele tenha bebido e oferecendo os elementos que subsidiar?o escolhas t?cnico-interpretativas para os futuros int?rpretes dessa obra. Com esse fim, foi realizada umaan?lise fonogr?fica comparativa entre grava??es de importantes quartetos brasileiros, entrevistas com m?sicos de relev?ncia no cen?rio nacional e experimenta??es em ensaios e recitais, sempre fazendo uma ponte do Quartetocom outras obras do compositor. Concomitantemente, foi realizada an?lise musicogr?fica entre edi??es manuscritas pelo pr?prio compositor, culminando com uma pr?pria edi??o revista.
Technical and interpretative aspects of the String Quartet No. 2 Guerra-Peixe will approach this work of a composer who is considered one of the greatest exponents of Brazilian music of the twentieth century, who developed several strands in his career as a musicologist, performer, composer, arranger radio and cinema, among others. In this work, we will see in the work in question their compositional styles, pointing sources that he has been drinking and offering elements that will subsidize technical and interpretive choices for future interpreters. After the historical context and esthetics, we will make some brief remarks about the terms performance and interpretation, to support the objective of the work, which will be the interpretation of the work. For that purpose, a comparative analysis was performed between recording of important Brazilian quartets, interviews with relevant players on the national scene and trials in rehearsals and recitals, always making a Quartet bridge with other works by the composer. Concomitantly, it was held analysis of handwritten edits by the composer, culminating with its own revised edition.
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Ahern, J. M. "Radical hydroacylation of C-C and N-N double bonds in air." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1309819/.

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The formation of C-C and C-N bonds in modern organic synthesis is a key target for methodological advancement. Current methods of C-C and C-N bond formation often involve the use of expensive catalysts, or sub-stoichiometric reagents, which can lead to the generation of undesirable waste products. This thesis describes a novel and environmentally benign set of reaction conditions for the formation of C-C and C-N bonds by hydroacylation and this is promoted by mixing two reagents, an aldehyde and an electron-deficient double bond, under freely available atmospheric oxygen at room temperature Chapter 1 will provide an introduction to the thesis and mainly discusses methods for C-C bond formation, in particular, radical chemistry and hydroacylation. Chapter 2 describes the hydroacylation of vinyl sulfonates and vinyl sulfones (C-C double bonds) with aliphatic and aromatic aldehydes with a discussion and evidence for the mechanism of the transformation. Chapter 3 details the synthesis of precursors for intramolecular cyclisations and studies into aerobic intramolecular cyclisations. Chapter 4 describes the hydroacylation of vinyl phosphonates (C-C double bonds) and diazocarboxylates (N-N double bonds) with aliphatic and aromatic aldehydes bearing functional groups. In addition, the hydroacylation of diazocarboxylates with chiral aldehydes will be discussed. In conclusion, a new, facile and clean set of reaction conditions for the formation of C-C and C-N bonds has been developed via aerobic C-H activation of aldehydes providing access to unsymmetrical ketones.
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Qian, Xin. "Cobalt-Catalyzed C-C and C-N Coupling reactions." Phd thesis, Ecole Polytechnique X, 2013. http://pastel.archives-ouvertes.fr/pastel-00943479.

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Ce travail de these a permis le déveloippement de nouvelles reactions de couplage catalysées par des sels de cobalt(II) Le premier chapitre décrit l'allylation cobalta catalysée d'halogénures d'alkyles. La méthode est facile à mettre en œuvre, efficace avec une grande variété d'halogénures d'alkyes et des acétates ou carbonates d'allyle substitués. Les rendements vont de bons à excellents et la tolérance fonctionnelle élevée. Dans le cas d'acétates d'allyle substitués le produit linéaire est obtenu majoritairement ou exclusivement. Quelques expériences ont permis de mettre en lumière la formation d'espèce radicalaire lors du cycle catalytique. Les premiers essais pour étendre cette méthodologie aux couplages allyle-allyle et alkyle-alkyle sont également décrits. Le deuxième chapitre porte sur l'amination catalysée au cobalt d'organozinciques fonctionnalisés en utilisant des N-chloroamines. La procédure est simple et générale et demande des conditions plus douces que celles précédemment décrite, tout en tolérant un très large éventail de substrats, avec une bonne tolérance à de nombreux groupes fonctionnels. Les premiers essais pour étendre la méthodologie à la réaction entre un organozincique et une source électrophile de soufre en vue de former des liaisons C-S sont également exposés. Enfin le dernier chapitre décrit la réaction d'organozinciques engendrés par catalyse au cobalt avec une source " verte " de cyanure électrophile, N-cyano-N-phenyl-p-methyl-benzenesulfonamide (NCTS), pour conduire avec de bons rendements aux arylnitriles correspondants. Des sources analogues de CN+ ont également été testées.
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Simayi, Rena. "Synthesis and reaction chemistry of various N,N,C- and O,N,C- palladium pincer complexes." Thesis, University of Leicester, 2017. http://hdl.handle.net/2381/39392.

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In this thesis, the synthesis, characterisation and complexation chemistry of a series of related NNC and ONC pyridine based pincer ligands, together with some reaction chemistry of the metal complexes is described. The pro-ligands and the metal complexes have been characterised by a combination of multinuclear NMR spectroscopic techniques, IR spectroscopy, mass spectrometry and, for selected examples, by single crystal X-ray crystallography; remarkable spectroscopic and structural data are discussed. In Chapter 2, the synthesis and characterization of thirteen NNC and ONC pyridine based pincer ligands is described, including nine novel pincer ligands and four pyridine based pincers which have been previously reported. In Chapter 3, the palladium/platinum chemistry of NNCaryl and ONCaryl pyridine based pincer ligands is explored. Variation on the donor atoms has allowed an investigation of donor property influences on C-H activation, by giving peri-activated palladium pincer complexes for the ketimine-, aldimine-, amine- and biyridine-armed ligands and generating ortho-activated ONC palladium pincer complexes in the case of the alcohol-armed pro-ligand. Use of different palladium salts also led to different regioselective C-H activations. With the ketimine-armed naphthyl ligand (HL1ket-nap) as the example, the interconversion chemistry between the ortho- and peri-C-H activated products is also explored. In Chapter 4, sp3 C-H activation of the Et-armed ligand HL4Et with both palladium acetate and palladium chlorides has been unsuccessful, giving the N,N-coordinated bidentate species. The reaction of palladium acetate with the iPr-armed pro-ligand HL4iPr has resulted in minor amounts of C-H activated vinyl species with the major product being the non-activated palladium diacetate complex. Noticeably, upon reaction with Na2PdCl4, a mixture of the non-activated bis-chloride palladium complex and the sp3 C-H activated NNC-tridentate palladium species has been obtained, in a ratio of 1:1.5. Moreover, the sp3 C-H activation and the isolation of a rare sp3 C-H activated palladium complex have been achieved by reacting the tBu-armed pro-ligand HL4tBu with palladium acetate. The reaction of this ligand with Na2PdCl4 also resulted in the successful C-H activation of the tBu-arm to give a palladium pincer complex with a yield of 95%. Other than the NMR and FABMS analyses, the solid state X-ray structure of the latter complex confirmed the formation of the material as a rare sp3 C-H activated palladium complex. The stoichiometric reactivity of the (NNC/ONC)PdCl species towards AgBF4/AgPF6, and the subsequent ligand exchange reactions are disclosed in Chapter 5, together with the application of twelve palladium complexes as a series of promising catalysts in the allylic arylation of various allylic acetates with sodium tetraphenylborate.
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Huang, Xiaohua 1973. "Palladium-catalyzed C-C, C-N and C-O bond formation." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29639.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Chemistry, 2003.
Vita.
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New methods for Pd-catalyzed cross-coupling reactions of aryl halides or arenesulfonates are described. Key to the success of these transformations is the proper choice of ligand and reaction conditions. Palladium catalysts supported by bulky, monodentate phosphine ligands with a biaryl backbone or the bidentate ligand, Xantphos, effectively promote the formation of ca-aryl carbonyl compounds. Base-sensitive functional groups are better tolerated when a weak base, such as K3PO4, is used. One of the most difficult transformations in Pd catalysis, the intermolecular C-O bond formation between primary alcohols and electron-neutral or even electron-rich aryl halides, was effectively promoted by the use of a new generation of ligands, 3-methyl-2-di-t-butylphosphinobiaryl. The one-step synthesis of ligands from cheap starting materials, as well as the mild reaction conditions employed for the coupling reactions, enables the practical use of Pd catalysis to access aryl alkyl ethers for the first time. Continuing study of Pd-catalyzed C-N bond-forming processes using biaryl monophosphine ligands led to the discovery of a structural derivative of these ligands, 2-dicyclohexylphosphino-2',4',6'-triisopropylbiphenyl. This ligand, in combination with a Pd source, produces a catalyst system with both a greater degree of activity and of stability than those that use our previous ligands. Substrates that were not amenable to Pd catalysis previously are reexamined using this new catalyst system, and excellent results are obtained.
by Xiaohua Huang.
Ph.D.
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Cómbita, Merchán Diego Fernando. "Formación de enlaces C-C, C-N y N-N con catalizadores de óxido de cerio y de oro/óxido de cerio." Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/62780.

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[EN] Heterogeneous catalysis is one of the most important tools in the advancement of green chemistry, understood it as one that efficiently uses (preferably renewable) raw materials, eliminate waste and avoids the use of toxic and/or dangerous reagents and solvents in chemicals production and application. In this thesis we have investigated the reaction mechanisms and the nature of the active centers in C-C, C-N and N-N bond forming reactions over cerium oxide and over gold nanoparticles supported on cerium oxide heterogeneous catalysts. As C-C bond formation reaction, we had been studied Sonogashira reaction catalyzed by a heterogeneous Au/CeO2 catalyst, wherein the CeO2 nanoparticle is about 5 nm in diameter. The second part of the thesis comprises the study of C-N bonds formation during carbamoylation reaction between diaminotoluene and dimethyl carbonate, catalyzed by cerium oxide, studying the effect over the reaction of the crystal planes available for reactants adsorption. In a third part, the N-N bond formation in the reductive coupling reaction of nitrocompounds to obtain azocompounds was studied, using Au/CeO2 as heterogeneous catalyst. Also in this section we report, by first time, an active and selective heterogeneous catalyst for the Mills reaction between nitroso compounds and anilines to obtain symmetric and asymmetric azocompounds.
[ES] La catálisis heterogénea es una de las más importantes herramientas para el desarrollo de la Química Sostenible, entendida como aquella que utiliza eficientemente las materias primas (preferiblemente renovables), elimina los desechos y evita el uso de reactivos y solventes tóxicos y/o peligrosos en la manufactura y aplicación de los productos químicos. En esta tesis doctoral se han investigado los mecanismos de reacción y la naturaleza de los centros activos, en reacciones de formación de enlaces C-C, C-N, y N-N sobre catalizadores heterogéneos de óxido de cerio y de nanopartículas de oro soportadas en óxido de cerio. Como reacción de formación de enlaces C-C se ha estudiado la reacción de Sonogashira catalizada con un catalizador heterogéneo de Au/CeO2, en donde el CeO2 está en forma de nanopartículas de cerca de 5nm de diámetro. En la segunda parte de la tesis se profundiza en el estudio de la formación de enlaces C-N durante la reacción de carbamoilación del diaminotolueno con dimetilcarbonato catalizada por el óxido de cerio, estudiando el efecto que tiene sobre la reacción la naturaleza de los planos cristalinos disponibles para la adsorción de los reactivos. En una tercera parte se estudia la formación de enlaces N-N en la reacción de acoplamiento reductivo de nitrocompuestos para obtener azocompuestos en presencia de un catalizador heterogéneo de Au/CeO2. Es este mismo apartado se reporta por primera vez un catalizador heterogéneo de alta actividad y selectividad para la Reacción de Mills entre un nitrosocompuesto y una anilina para obtener azocompuestos simétricos y asimétricos.
[CAT] La catàlisi heterogènia és una de les ferramentes més importants per al desenvolupament de la Química Sostenible, entesa com aquella que utilitza eficientment les matèries pimes (preferiblement renovables), elimina els rebutjos i evita l'ús de reactius i dissolvents tòxics i/o perillosos en la manufactura i aplicació dels productes químics. En esta tesi doctoral s'han investigat els mecanismes de reacció i la natura dels centres actius, en reaccions de formació d'enllaços C-C, C-N i N-N sobre catalitzadors heterogenis d'òxid de ceri i nanopartícules d'or suportades en òxid de ceri. Com reacció de formació d'enllaços C-C s'ha estudiat la reacció de Sonogashira catalitzada amb un catalitzador heterogeni d'Au/CeO2, on el CeO2 està en forma de nanopartícules amb un diàmetre proper als 5nm. En la segona part de la tesi s'aprofundeix en l'estudi de la formació d'enllaços C-N durant la reacció de carbamilació del diaminotoluè amb dimetilcarbonat catalitzada per l'òxid de ceri, estudiant l'efecte que té sobre la reacció la natura dels plans cristal·lins disponibles per a l'adsorció dels reactius. En una tercera part s'estudia la formació d'enllaços N-N en la reacció d'acoblament reductiu de nitrocompostos per a obtenir azocompostos en presència d'un catalitzador heterogeni d'Au/CeO2. En aquest mateix apartat es reporta per primera vegada un catalitzador heterogeni d'alta activitat i selectivitat per a la Reacció de Mills entre un nitrocompost i una anilina per a obtenir azocompostos simètrics i asimètrics.
Cómbita Merchán, DF. (2016). Formación de enlaces C-C, C-N y N-N con catalizadores de óxido de cerio y de oro/óxido de cerio [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62780
TESIS
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Roberts, Deborah Elizabeth. "Palladium N-neterocyclic carbene complexes as catalysts for C-N, C-Si and C-S bond formations." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/45342/.

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This work is foremost a study of various palladium-bearing N-heterocyclic carbenes complexes and their catalytic potential to form C-N bonds. Both alkyl amination and aryl amination are considered. Further elucidation on the mechanism of such catalytic activity is investigated. The viability of alkyl amination using palladium complexes bearing the ligands, ITMe, 1,2,3,4- tetramethylimidazol-2-ylidene, and ICy, 1,3- bis-cyclohexylimidazol-2-ylidene, as catalysts, is investigated. This includes the synthesis of [Pd(ITMe)(neopentyl)Cl]2,[Pd(ITMe)2(neopentyl)Cl], [Pd(ITMe)(neopentyl)(tbutylamine)Cl], [Pd(ITMe)(neopentyl)(hexylamine)Cl], with successful elimination of the alkyl-amination reaction product in low yield from the latter complex. [Pd(ICy)(neopentyl)Cl]2, [Pd(ICy)2(neopentyl)Cl] are also isolated. Unsuccessful attempts were made to vary the electronic properties of the complexes by replacing the amine with a hydrazine. Work was also done on indirect alkylation using tBuLi which led to a new method for synthesis of [Pd(ItBu)2] and novel complex, [Pd(ItBu)Cl3. ItBuH] (ItBu = 1,3- bis-tertbutylimidazol-2-ylidene). Aryl amination catalysed by complexes of palladium bearing the ligand, ITMe, is considered. This includes an improved synthesis of [Pd(ITMe)2] and synthesis of [Pd(ITMe)2(anisole)Cl]. Unsuccessful attempts at the elucidation of the mechanism of [Pd(ITMe)2(anisole)] formation led to the unexpected formation of [Pd(ITMe)2(SiMe3)(Si(SiMe3)3)] and [Pd(ITMe)2(SiMe3)2]. Aryl amination with using [Pd(ITMe)2(SiMe3)2] led to two aryl amination products, 4-ortho-methoxyphenyl morpholine as well as the expected para isomer. The use of complexes [Pd(ItBu)2] and [Pd(SIPr)2] (SIPr = 1,3-bis(2,6-diisopropylphenyl)imidazolin-2-ylidene) in C-S bond formation was explored. Addition of mesityl magnesium bromide to Pd(1,5-COD)Cl2 led to addition of mesityl substrate across 1,5-COD double bond and the addition of ITMe formed the Heck cycle intermediate [Pd(8-mesityl-1,4,5-η3 – C8H12)X2] (X=Cl, Br). Addition of 4-tolyl magnesium chloride resulting in the formation of Pd(ItBu)2(tolyl)Cl via an indirect route.
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Smith, Aletta Margaretha. "Afrikaanse liederwysies : 'n bestekopname." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80376.

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Thesis (MMus)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: “Liederwysies” (folk hymns) are spiritual folk songs that emerged in the Afrikaans culture at the beginning of the 19th century, and were used in isolated cases until the late 20th century. These hymn tunes were sung by isolated rural families during their family worship and were passed on via oral tradition. The origin of such melodies can be traced to various sources, and like the similar process affecting folk music traditions all over the world, they emerged as variations of official settings of psalms, hymns and other spiritual songs as well as secular melodies. The process is comparable with the medieval centonization and contrafacta: in the first case fragments of typical melodic contours may be used, and in the second, secular melodies are appropriated for spiritual texts. (In the latter case the 19th century Anglicisation policy and the influence of American revival hymns probably occasioned e.g. the American folk song Clementine to be used as the basis of a folk hymn.) In some instances specially composed melodies which had become obsolete, were retained as “liederwysies”, as happened with F.W. Jannasch's setting of Psalm 130. The demands of performance practice called for melodic variation, and one might even identify instances of elementary neologism. Much of the variation draw upon extensive decoration, such as melodic and rhythmic deviation, often by means of auxilliary notes, passing notes (known as “draaiers” (“turns”) in the vernacular), and apparently random rhythmic adaptations of unknown sources of melody. Dutch researchers led research into this folk music genre at the beginning of the 20th century. The first known notation of “liederwijzen” was done by Hendrik Vischer in 1896, followed by two booklets by Willem van Warmelo published in 1948 and 1958. These excited much interest, and G.G. (Gawie) Cillié stepped forward as Van Warmelo's avid (if musicologically less erudite) successor. Although Cillié opposed the folk hymns originally from church musical convictions, since he saw them as jeopardizing the “purity” of Afrikaans church music, he did collaborate with the inclusion of some such tunes in the Liedboek van die Kerk (2001). His last publication, reviewing 70 folk hymns, appeared in print in 1993. For the purposes of this thesis all known research on the topic was collected and evaluated critically. The researcher provides the broad historical background to the development of spiritual folk songs and identifies problems involved in such research. A total of 176 melodies (including variants) are examined and described individually, and where possible, they are placed in context with regard to their origin and composition.
AFRIKAANSE OPSOMMING: Liederwysies is geestelike volksliedere wat sedert die begin van die 19de eeu in die Afrikaanse volksmond ontstaan het, en in geïsoleerde gebruik was tot die laat 20ste eeu. Hierdie liedere is deur geïsoleerde (plattelandse) families tydens huisgodsdiens gesing en deur mondelinge tradisie oorgedra. Die herkoms van sulke melodieë kan aan ’n verskeidenheid bronne toegeskryf word, en ooreenkomstig ’n proses eie aan volksmusikale tradisies wêreldwyd, dit wil sê variante van offisiële melodieë vir Psalms, Gesange, ander geestelike liedere, asook sekulêre melodieë. Die proses is in baie gevalle vergelykbaar met die Middeleeuse sentonisasie en kontrafaktuur: in die eerste geval kan fragmente of tipiese melodiese wendings van bekende melodieë diens doen, en in die tweede geval word sekulêre melodieë aangewend vir geestelike tekste. (In laasgenoemde geval het die negentiende-eeuse anglisasiebeleid en die invloed van Amerikaanse opwekkingsliedere waarskynlik bygedra tot die wye gebruik van byvoorbeeld die Amerikaanse liedjie Clementine as basis vir ’n liederwysie.) Enkele gevalle van gekomponeerde melodieë wat egter in onbruik geraak het, maar in die geheue bly vassteek het as “liederwysie” is ook bekend, soos F.W Jannasch se melodie vir Psalm 130. By wyse van ’n deels unieke uitvoeringspraktiese benadering het verskeie melodievariante ontstaan, en in enkele gevalle kan daar selfs sprake wees van elementêre nuutskeppings. Die element van variëring berus grotendeels op die gebruik van soms uitvoerige “versierings”, dit wil sê melodiese en ritmiese afwykings, meestal by wyse van wisselnote, deurgangsnote (in die volksmond bekend as “draaiers”), en oënskynlik willekeurige ritmiese “aanpassings” van die meestal onbekende melodiebronne. Die navorsing van hierdie volksmusikale genre is hoofsaaklik deur Nederlanders aan die begin van die 20ste eeu onderneem. Die eerste notasie van “liederwijzen” is (sover bekend) in 1896 deur Hendrik Visscher gedoen. Willem van Warmelo se navorsing is in twee klein boekpublikasies in 1948 en 1958 gepubliseer. Dit het baie belangstelling uitgelok, en Van Warmelo het ’n ywerige (hoewel musiekwetenskaplik minder onderlegde) opvolger gehad in G.G (Gawie) Cillié. Alhoewel Cillié weens kerkmusikale oortuigings hom aanvanklik teen die liederwysies uitgespreek het, en dit as ’n bedreiging vir die “suiwer” Afrikaanse kerklied beskou het, het hy meegewerk aan die insluiting van enkele van die melodieë in die Liedboek van die Kerk (2001). Sy laaste publikasie oor die onderwerp, met ’n oorsig oor 70 liederwysies, het in 1993 verskyn. Vir hierdie studie is alle bekende navorsing oor die onderwerp versamel en krities geëvalueer. ’n Breë historiese agtergrond van die ontwikkeling van die geestelike volkslied, en die probleme wat met die navorsing daarvan gepaard gaan is uitgelig. Die totaal van 176 melodieë (insluitend variante) is individueel ondersoek en beskryf, en waar moontlik in konteks geplaas ten opsigte oorsprong en samestelling.
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Neal, Richard J. "The loosely-bound proton in ¹³N and the transfer reaction ¹¹B(¹³N,¹²C)¹²C." Thesis, University of Edinburgh, 1997. http://hdl.handle.net/1842/1783.

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The radioactive nucleus ¹³N (t½ = 10 min, Jπ = ½) contains one loosely bound proton (Sp = 1.94 MeV) which can be considered to be bound to a core of ¹²C. Taking advantage of the recent availability of beams of radioactive nuclei at Louvain-la-Neuve, Belgium, a beam of ¹³N has been used to investigate the transfer reaction ¹¹B(¹³N,¹²C)¹²C. Particle-γ coincidence data was taken, using the LEDA silicon strip array and BaF₂ modules, gating on the 15.11 MeV γ-decay from the T = 1 state in ¹²C*. Two final states, corresponding to ¹²Cgs + ¹²C*(15.11 MeV) and ¹²C*(4.44 MeV)+ ¹²C*(15.11 MeV) have been observed and angular distributions have been measured for both transitions at each of two beam energies, 29.5 MeV and 45 MeV. The results are discussed with special reference to the loosely bound nature of the valence proton in ¹³N; the transfer reaction has been modelled using a DWBA code, with the ¹³N ground state constructed as a mixture of states: a p½ proton bound to ¹²Cgs , or a p3/2 proton bound to ¹²C*₂₊ (4.44 MeV). Fits to the experimental data have been obtained using a very shallow set of optical potentials, which are found to be energy dependent. The agreement with experiment is good, with the exception of the ¹²C*(4.44)+¹²C*(15.11) transition at the lower beam energy, which is significantly underestimated by the calculations, suggesting a contribution from a different reaction mechanism.
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Books on the topic "Music, n.e.c"

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John, Elliott. Song 'n' dance: The database/index for C/W dancers, dance instructors, choreographers, event directors, & DJ's. Albany, OR (P.O. Box 1778, Albany 97321-0494): Country Stage Productions, 1993.

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Souci, Robert D. San. N. C. Wyeth's pilgrims. San Francisco: Chronicle books, 1991.

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Weyn, Suzanne. The N-C zone. New York, NY: Macmillan McGraw-Hill, 1998.

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i, Hung Kha. Khu c tie u ai oa n: Truye n kich. [s.l.]: ♯o i Nay, 1988.

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Va n Xua n Nhi Ho . Ho n em hanh phu c: Ta p truye n. Los Alamitos, Calif: Xua n Thu, 1988.

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1957-, De Lisa Eugene, ed. Computer music in C. Blue Ridge Summit, PA: Windcrest, 1991.

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Riggs, Kate. Rock 'n' roll music. Mankato, Minn: Creative Education, 2008.

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Riggs, Kate. Rock 'n' roll music. Mankato, Minn: Creative Education, 2008.

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Gaar, Gillian G. Rebellinnen: Die Geschichte der Frauen in der Rockmusik. Hamburg: Argument, 1994.

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Anh, Phan. Con lo c ©ʻoi: Tuye n ta p truye n. Los Alamitos, Calif: Xua n Thu, 1987.

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Book chapters on the topic "Music, n.e.c"

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"‘ROCK ‘N’ ROLL HAS BECOME RESPECTABLE’:." In The British National Daily Press and Popular Music, c.1956–1975, 47–64. Anthem Press, 2019. http://dx.doi.org/10.2307/j.ctvcb59dq.7.

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Taylor, David. "‘Don’t You Rock Me, Daddy-O’: Skiffle and rock ‘n’ roll." In From Mummers to Madness: A Social History of Popular Music in England, c.1770s to c.1970s, 305–20. University of Huddersfield Press, 2021. http://dx.doi.org/10.5920/mummers.18.

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Chapman, Con. "The Blues." In Rabbit's Blues, 151–60. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0020.

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The chapter discusses the nature of the blues and Johnny Hodges’s place within the genre. Recognized as a master of the blues in his time, he would not be thought of as a blues musician by most listeners today because what is meant by that term has been narrowed over time. Guitar-based blues music has crowded the horn-based variety out of the marketplace since rock ‘n’ roll displaced jazz as the most popular music among America’s youth. A brief history of the evolution of the term blues in American music is provided, along with an explication of the role played by W. C. Handy in popularizing the genre before electric amplifiers gave rise to the current ascendancy of guitars over horns. Hodges’s blues-based collaborations with organist Wild Bill Davis are then described as largely responsible for creating a new subgenre of jazz, the organ-sax combo, which endures to this day.
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Siwe, Thomas. "Minimalism." In Artful Noise, 146–55. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0011.

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The static sounds of popular music, especially rock <ap>‘n’ roll, influenced a new generation of composers. Rejecting both classical and contemporary formal procedures in composition, minimalist composers created new works whose structures became apparent to the listener as the music slowly unfolded. Beginning with La Monte Young, the master of the drone, a few composers began to simplify their art in an effort to connect to the listening public. The percussion music presented herein exhibits many of the traits that define minimalism: the constant repetitive pulse, reduced forces, slowly changing rhythmic modules, and canonic constructs. A brief look at Terry Riley’s iconic work, In C, leads to an in-depth examination of composer Steve Reich’s most popular minimalist work, Drumming. In it, the listener can hear the slowly unfolding structure of the work as well as the psychoacoustic phenomena caused by the interaction of rhythmic and tonal patterns. The chapter concludes with an examination of works by the Danish composer and theorist Per Nørgård and the American composer James Tenney.
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Aggarwal, P., and M. W. P. Bebbington. "Fragments N—N, C—C, C—N." In Six-Membered Hetarenes with Two Unlike or More than Two Heteroatoms and Fully Unsaturated Larger-Ring Heterocycles, 1. Georg Thieme Verlag KG, 2012. http://dx.doi.org/10.1055/sos-sd-117-00227.

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Aggarwal, P., and M. W. P. Bebbington. "Fragment C—C—N—N—C—N." In Six-Membered Hetarenes with Two Unlike or More than Two Heteroatoms and Fully Unsaturated Larger-Ring Heterocycles, 1. Georg Thieme Verlag KG, 2012. http://dx.doi.org/10.1055/sos-sd-117-00242.

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Aggarwal, P., and M. W. P. Bebbington. "Fragment C—N—C—C—N—N." In Six-Membered Hetarenes with Two Unlike or More than Two Heteroatoms and Fully Unsaturated Larger-Ring Heterocycles, 1. Georg Thieme Verlag KG, 2012. http://dx.doi.org/10.1055/sos-sd-117-00244.

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Lindsley, C. W., and M. E. Layton. "Fragment N—C—N—C—C—N." In Six-Membered Hetarenes with Two Unlike or More than Two Heteroatoms and Fully Unsaturated Larger-Ring Heterocycles, 1. Georg Thieme Verlag KG, 2004. http://dx.doi.org/10.1055/sos-sd-017-00676.

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Lindsley, C. W., and M. E. Layton. "Fragment N—N—C—N—C—C." In Six-Membered Hetarenes with Two Unlike or More than Two Heteroatoms and Fully Unsaturated Larger-Ring Heterocycles, 1. Georg Thieme Verlag KG, 2004. http://dx.doi.org/10.1055/sos-sd-017-00680.

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Lindsley, C. W., and M. E. Layton. "Fragment C—C—N—N—C—N." In Six-Membered Hetarenes with Two Unlike or More than Two Heteroatoms and Fully Unsaturated Larger-Ring Heterocycles, 1. Georg Thieme Verlag KG, 2004. http://dx.doi.org/10.1055/sos-sd-017-00683.

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Conference papers on the topic "Music, n.e.c"

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Hayes, Lauren. "Skin Music (2012)." In C&C '15: Creativity and Cognition. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2757226.2757370.

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Davis, Philip, Stewart Novick, Stephen Kukolich, Adam Daly, Kexin Li, Ian Dorell, and Lu Kang. "THE ROTATIONAL SPECTRA OF CYANOACETYLENE DIMER, H-C-C-C-N ••• H-C-C-C-N." In 71st International Symposium on Molecular Spectroscopy. Urbana, Illinois: University of Illinois at Urbana-Champaign, 2016. http://dx.doi.org/10.15278/isms.2016.wa09.

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Cavdir, Doga. "Movement-based Music Making: An Aesthetics-based Evaluation." In C&C '21: Creativity and Cognition. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450741.3467461.

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Cyngler, Richie. "Music for Various Groups of Performers (After Lucier)." In C&C '17: Creativity and Cognition. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3059454.3073725.

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Valente, A., and K. Lyon. "C-cards in music education." In Fifth IEEE International Conference on Advanced Learning Technologies (ICALT'05). IEEE, 2005. http://dx.doi.org/10.1109/icalt.2005.79.

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"Session details: Paper and Pictorial Session: Sound and Music." In C&C '22: Creativity and Cognition, edited by Ellen Yi-Luen Do. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3544875.

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Bougueng Tchemeube, Renaud, Jeffrey John Ens, and Philippe Pasquier. "Calliope: A Co-creative Interface for Multi-Track Music Generation." In C&C '22: Creativity and Cognition. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3527927.3535200.

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Turker, Meliksah, Alara Dirik, and Pinar Yanardag. "MIDISpace: Finding Linear Directions in Latent Space for Music Generation." In C&C '22: Creativity and Cognition. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3527927.3532790.

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Jenkins, Elizabeth E., and Marvin L. Marshak. "Large N[sub c]." In 10TH CONFERENCE ON THE INTERSECTIONS OF PARTICLE AND NUCLEAR PHYSICS. AIP, 2009. http://dx.doi.org/10.1063/1.3293846.

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Margounakis, D., and D. Politis. "Producing music with N-Delta interfaces." In First International Conference on Automated Production of Cross Media Content for Multi-Channel Distribution (AXMEDIS'05). IEEE, 2005. http://dx.doi.org/10.1109/axmedis.2005.24.

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Reports on the topic "Music, n.e.c"

1

Gland, J. L. Hydrogen induced C-C, C-N, and C-S bond activation on Pt and Ni surfaces. Office of Scientific and Technical Information (OSTI), December 1992. http://dx.doi.org/10.2172/10102894.

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2

Gland, J. L. Hydrogen induced C-C, C-N, and C-S bond activation on Pt and Ni surfaces. Office of Scientific and Technical Information (OSTI), January 1992. http://dx.doi.org/10.2172/6915688.

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3

Gland, J. L. Hydrogen Induced C-C, C-N, & C-S Bond Activation on Pt & Ni Surfaces. Office of Scientific and Technical Information (OSTI), July 2004. http://dx.doi.org/10.2172/830711.

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4

Gland, J. L. [Hydrogen induced C-C, C-N, and C-S bond activities on Pi and Ni surfaces]: Summary. Office of Scientific and Technical Information (OSTI), December 1994. http://dx.doi.org/10.2172/10110807.

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5

Friend, J. P. High-speed tapping for N/C machining centers. Office of Scientific and Technical Information (OSTI), November 1991. http://dx.doi.org/10.2172/6114424.

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6

Ball, J. Timothy. Running Title: C and N Allocation in Pine. Office of Scientific and Technical Information (OSTI), December 1996. http://dx.doi.org/10.2172/762784.

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7

Joyner, Rex W. Diffractive Processes in 200-GeV/c $\pi^- N \to \pi^- \pi^- \pi^+ N$ Interactions. Office of Scientific and Technical Information (OSTI), August 1987. http://dx.doi.org/10.2172/1433220.

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8

Karl, G., and H. J. Lipkin. Flavor symmetry in the large N{sub c} limit. Office of Scientific and Technical Information (OSTI), December 1991. http://dx.doi.org/10.2172/10107252.

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9

Karl, G., and H. J. Lipkin. Flavor symmetry in the large N sub c limit. Office of Scientific and Technical Information (OSTI), January 1991. http://dx.doi.org/10.2172/6138160.

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10

McGuigan, M., and C. B. Thorn. Quark-antiquark Regge trajectories in large N{sub c}QCD. Office of Scientific and Technical Information (OSTI), July 1992. http://dx.doi.org/10.2172/10155611.

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