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Relevant bibliographies by topics / Music videos

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Academic literature on the topic 'Music videos'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Music videos"

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Ambarwati, Endang Retno, and Setyo Bagus Waskito. "PENYUNTINGAN CUTTO CUT DAN COMPOSITING VIDEO MUSIK PANTAIKU KALAMASOUL BAND." Capture : Jurnal Seni Media Rekam 3, no. 2 (June 19, 2017): 30–38. http://dx.doi.org/10.33153/capture.v3i2.1885.

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There are a lot of reggae musics that can be taken advantage,among them can be usedas a means of delivering a moral message,voice calling for weak communities,provide relaxationand well able to bring a message of peace for others.Departing from this fact,producer seeks tocreate two music videos using different construction techniques, the Cut to Cut technique andCompositing technique to eliminate negative view of reggae musics and the choice was on mybeach songs created and sung by Kalamasoul Band.The Cut to Cut technique to arouse feelingsand emotions of the audience,so the audience feel being at the beach and can capture the moralmessages in the videos my beach music easily.The Compositing techniques to provide a varietyof different and interesting spectacle for the community that after seeing the music video, theaudience is not immediately forgotten of what he had just seen. Cultivation of the Pantaikumusic videos through three main stages, namely editing offline, online editing, and mixing. Byusing two different techniques on the same music,it turns out Pantaiku music video compositingtechniques packaging more attractive and entertaining. But seen from the delivery of themessage,the music video by cut to cut technique in my beach songs was more communicativeand easily received by the audience.Objective of the video was to create good music and finallyactractively reached.Keywords:Editing,cut to cut,compositing,Kalamasoul Band,dan Pantaiku

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Abas, Razif, Halimatus Sakdiah Minhat, Siti Zulaikha Zakariah, Rosni Ibrahim, Camellia Siti Maya Mohamed Razali, and Marzelan Salleh. "Production of Hand Music Videos in Anatomy Education for Medical Students in Malaysia." Education in Medicine Journal 15, no. 1 (March 31, 2023): 101–11. http://dx.doi.org/10.21315/eimj2023.15.1.8.

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Media are teaching resources that help teachers transmit messages and learning material to students effectively and efficiently. Music video making is one example of how educational media is used in anatomy training. The aim of this article is to elaborate the stages of hand music video development. The three main stages of film and video production are pre-production, production, and postproduction. Identifying the type of music video, script writing, song composition, music and vocal recording, and storyboard production are all parts of the pre-production stage. Shooting and selecting the music video’s mood, with a few adjustments, are part of the production stage. Finally, editing is included in the post-production stage. Hand music videos were found to aid in the teaching of anatomy, with the music video containing visual, auditory, and kinaesthetic elements. Therefore, music videos can be used as an alternative teaching approach, particularly in difficult subject areas that demand extensive memorisation.

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Savinova, V. E., and S. M. Isaeva. "The analysis of the effectiveness of different types of music Videos on YouTube in promoting artists." Тенденции развития науки и образования 97, no. 10 (2023): 151–55. http://dx.doi.org/10.18411/trnio-05-2023-579.

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This article analyzes the effectiveness of various types of music videos on YouTube in promoting artists. The authors explore the impact of different music video features, such as performance music videos, narrative music videos, concept music videos, lyrics and animated music videos. The study draws on a sample of popular music videos across different genres and analyzes their metrics using a quantitative approach. The results suggest that music videos with high-quality visuals and engaging storylines tend to generate higher levels of engagement and views than those without these features. The study provides insights for music industry practitioners and artists seeking to promote their work on YouTube. However, the sample used in the study is limited and may not be fully representative of the entire music industry. Additionally, the study does not explore other factors, such as marketing campaigns, that may influence the success of a music video. Overall, the article contributes to the growing body of research on the effectiveness of digital marketing strategies for promoting music.

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Denisoff, R. Serge, and Gary Burns. "Music videos." Popular Music and Society 10, no. 1 (January 1985): 74–76. http://dx.doi.org/10.1080/03007768508591240.

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Kniaź-Hunek, Lidia. "The (R)evolution of Music Video in American Music Industry." New Horizons in English Studies 8 (December 23, 2023): 163–76. http://dx.doi.org/10.17951/nh.2023.8.163-176.

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The essay offers a concise historical examination of the evolution of music videos and places this medium within the broader context of the popular music industry, which is influenced by the principles of late capitalism. The study highlights the significance of music videos in the popular music industry and media studies, underscoring their role as both promotional and artistic products. It traces the medium's development, from its early days as "illustrated songs" in the late 19th century to the MTV era's explosion, marked by groundbreaking music video directors and the digital turn in the 21st century, which has reshaped the landscape of music video production, distribution, and reception. The article also addresses emerging trends, such as visual albums and changes in video length and format, reflecting shifts in music consumption and technology. In conclusion, it asserts that music videos continue to evolve, challenging conventions and fostering a multisensory, intermedial relationship with audiences.

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Keazor, Henry. "Portable Music Videos? Music Video Aesthetics for Handheld Devices." Volume !, no. 14 : 2 (April 26, 2018): 201–10. http://dx.doi.org/10.4000/volume.5594.

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Golovanova, Elena Aleksandrovna. "Creation of musical content based on the plotline of music videos." Человек и культура, no. 6 (June 2020): 175–83. http://dx.doi.org/10.25136/2409-8744.2020.6.30990.

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This article examines the visual means of modern music videos and their impact on perception of the audience. The author is first to study the peculiarities of creation of visual imagery along with artistic means of music videos and their impact on the viewership. The conception, development stages, and specifics of the visual imagery of music videos on TV – from the “Little Blue Light” and musical films to modern music videos – are considered. Each of the is based on the balance between musical content of the composition, based on the compositional differences of the plot, and viewership perception, arousing the feeling of immersion into the image, connectedness to the events on TV, and affection with  the heroes. The scientific novelty consists in the attempt to correlate verbal content of the music video with its visual imagery. The conclusion is made that the audience perception in a certain way depends on the peculiarities of visual imagery of music videos, which feature contrapuntal aesthetics combined with the main idea of music video and differences within the framework of performer’s representation of the composition. The common aspect for creation of all music videos is the depiction of motion, which again underlines its inextricable connection of music video and cinematography, which is based on creation of a certain image by the actor.

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Mukhortikova, Elena A. "Features of the Formation of Visual Series of Music Videos." Observatory of Culture 18, no. 3 (July 22, 2021): 264–71. http://dx.doi.org/10.25281/2072-3156-2021-18-3-264-271.

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This article explores the typology of visual means of modern music videos on the television screen and their impact on the audience. For the first time, there are studied the distinctive features of building visual series of music videos basing on three types of musical compositions. The structure of the visual series is based on their connection with the plot features of the work and their impact on the viewer based on the sense of belonging of the audience to what is happening on the screen, attracting their attention to the aesthetic opportunities of music video products.The article examines the features of building visual series in combination with visual means of music videos. There are considered the origin, periods of development and features of the visual series of music videos. The basis for drawing the foundations of cinema to the visual and expressive means of music videos is its aesthetics, which contributes to constructive transformations in the development of new, modern means of computer technologies. The use of cinematic aesthetics contributes to the development of the narrative thought of music videos. In this study, the following typology of visual video series is highlighted: plot, illustrative, parallel; some examples of music videos are given. There is established that each of the considered visual series of videos is based on the features of the musical content of the work and its plot construction. This is based on a specific perception by the viewer, which causes penetration into the image, a sense of belonging to what is happening on the screen, and feelings for the characters. The article concludes that the viewer’s perception is influenced, to a certain, extent by the features of the visual series of videos, which have their own contrapuntal aesthetics, coupled with the general idea of the music video and the differences in the performer’s vision of the composition.

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Bodyanskaya, Alisa, and Kapitalina Sinegubova. "Music Video as a Poetic Interpretation." Virtual Communication and Social Networks 2023, no. 2 (April 25, 2023): 47–55. http://dx.doi.org/10.21603/2782-4799-2023-2-2-47-55.

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This article introduces the phenomenon of videopoetry as a hybrid product of mass media whose popularity is based on intermediality, i.e., the cumulative effect on different perception channels. Videopoetry is a productive form of verbal creativity in the contemporary media culture with its active reception of art. The research featured poems by W. B. Yeats, T. S. Eliot, and W. H. Auden presented as videos and the way they respond to someone else's poetic word. The authors analyzed 15 videos by comparing the original text and the video sequence in line with the method developed by N. V. Barkovskaya and A. A. Zhitenev. The analysis revealed several options for relaying a poetic work as a music video. Three videos provided a direct illustration of the source text, suggesting a complete or partial visual duplication of the original poetic imagery. Five videos offered an indirect illustration of the source text by using associative images in relation to the central images of the poem. Five videos gave a minimal illustration: the picture did not dominate the text of the poem, but its choice implied a certain interpretation. Two videos featured the video maker as a reciter. The video makers did not try to transform the poetic text but used the video sequence as a way to enter into a dialogue with the original poem or resorted to indirect illustration to generate occasional meanings. Thus, video makers keep the original text unchanged and see the video sequence and musical accompaniment as their responsibility but maintain a dialogue between the original text and its game reinterpretation.

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Strasburger, Victor C., and Robert L. Hendren. "Rock Music and Music Videos." Pediatric Annals 24, no. 2 (February 1, 1995): 97–99. http://dx.doi.org/10.3928/0090-4481-19950201-09.

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Dissertations / Theses on the topic "Music videos"

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Stewart, Richard Christopher. "Effective audio for music videos : the production of an instructional video outlining audio production techniques for amateur music videos." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1996. http://www.kutztown.edu/library/services/remote_access.asp.

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Karlsson, Simon Gustav. "Subgenres in Swedish music videos - A neo-formalistic analysis of fifteen music videos." Thesis, Linköpings universitet, Institutionen för teknik och naturvetenskap, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-96274.

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Detta examensarbete är en analys av femton svenska musikvideor. Syftet är att undersöka likheter och skillnader i berättande, stilar och tekniker som används. Uppsatsen jämför även de videor som undersöks för att se om det finns gemensamma kontaktpunkter i deras sammansättning samt om videons uppbyggnad styrs av musikgenren den representerar. Många tidigare analyser inom området utgår från musikvideons roll i samhället; politiskt, ekonomiskt eller historiskt. De koncentrerar sig på innebörden av musikvideons budskap. Till skillnad från dessa utgångspunkter, undersöker denna uppsats filmens uppbyggnad ur ett neoformalistiskt perspektiv. Det vill säga att den utgår från teoribyggen hämtade från kognitions- och perceptionspsykologin och som sedan applicerats på film. Dessa teorier bryter ner filmen i sina beståndsdelar för att se hur den är uppbyggd och hur den berättar. Filmens beståndsdelar sträcker sig från form, via stil och teknik till musik. Resultatet är en analys gjord på femton videor utifrån dessa teorier och mynnar ut i en sammanfattning där skillnader och likheter kan ses. Där kan man bland annat se att de flesta videorna har en narrativ struktur, har artisten som huvudmotiv, och arbetar med olika tekniker och teman för att rama in motivet. Det finns många likheter och paralleller i de olika videorna – men även en hel del olikheter. Den tydligaste faktorn som binder ihop olika videorna är, vid sidan om berättarstrukturen, videons stil. Använder man ordet musikstil istället för musikgenre, blir sambandet lättare att förstå. Undersökningen visar att videons stil och musikstilen, främst inom hip hop-genren i mångt och mycket går hand i hand. Detta samband är tydligt och påvisar att hip hop inte bara är en musikgenre, utan kan i förlägningen även ses som en subgenre till svenska musikvideogenren. Uppsatsen visar även en tendens av avsaknat användande av musiken i musikvideorna. Det är främst stilen, berättarstrukturen och funktionerna av olika tekniker som leder videon vidare snarare än musiken. Detta skulle kunna förklaras av att regissörerna kommer från en klassisk filmbakgrund snarare än en musikerbakgrund. För framtida forskare skulle uppsatsen kunna ligga till grund för en mer omfattande analys av eventuellt fler videor eller analys ur ett internationellt perspektiv. För att starkare kunna förankra sambandet mellan musikvideors berättande och spelfilm, kunde en undersökning göras på regissörer, som arbetat med både musikvideor och spelfilm. Man kunde då på ett mer säkert sätt undersöka om det fanns paralleller i berättarform och stil mellan de olika filmtyperna.

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LAAKE, REBECCA A. "DEPICTION OF SEXUALITY IN MUSIC VIDEOS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1104784016.

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Juul, Lisa. "Examining 360° storytelling in immersive music videos." Thesis, Malmö universitet, Fakulteten för teknik och samhälle (TS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20828.

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Music videos invite the viewer to an enhanced experience of a song, and by combining it with360°, a new dimension of immersion emerges. However, a new wave of complex narrativeand user interface unfolds when intertwining 360° and the contemporary way of telling storiesin music videos.This thesis used an experimental mixed method research design, focusing on collecting,analyzing, and mixing both quantitative and qualitative data in a series of studies. A surveywas first conducted to get an overview of consensus with respect to music videos, VR, and360°. The majority of the respondents had tried VR and 40% of stated that they felt immersedwhile trying it. Around 18% argued it was experience-dependent and 42% did not feelimmersed at all. The survey was followed by experiments showing two 360° music videoswith different storytelling techniques. After the participants had seen the videos, theydiscussed the experience in focus groups in a semi-structured interview. The results were thencoded and benchmarked with theory, which led to the rise of six key 360° storytellingguidelines.All three focus groups concluded 360° music videos enable a deeper level of immersion.However, when combining novelty and a sometimes overwhelming visual experience, 360°music videos can distract the audience if not told right. The guidelines discuss the purpose ofa music video, how the technology affects the experience, if the medium is passive or active,and how different types of interaction can be used as a storytelling mean. They also discussways to pedagogically intertwine audio and visuals. Additionally, the guidelines includediscussions of how different cues and POV’s can be utilized to ensure that the filmmakers andviewers experiences are somewhat aligned, they also tackle the fear of missing out, andfinally compare 360° and traditional music videos.Conclusively, the research shows that storytelling in a 360° sphere will entail a journey oftrial and error, and that the audience have scattered preferences of what different narrativestyles they find work and do not.

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Yiu, Yan-ling. "Rock music as cultural translation : a case study of Hong Kong rock music video /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22200174.

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Turner, Jacob S. "An examination of sexual content in music videos." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.51Mb, 223 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428252.

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Häggbom, Mikael. "The Use of Graphic Styles in Music Videos." Thesis, Högskolan i Gävle, Avdelningen för Industriell utveckling, IT och Samhällsbyggnad, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-9747.

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Music videos are becoming more and more important to an artist. Computer Graphics is a large element in the making of the videos, because of the chances to enhance the end result. That is why the combination of the two is being explored now. A literature review is the starting point of the thesis where the history of music videos and Computer Graphics is researched. After exploring a variety of music videos, nine categories and eight sub-categories was formed to assists those who are looking for inspiration and knowledge of the different graphic styles that could be used in music videos. The sub-categories are not primarily graphics styles, rather tips of what other techniques and styles that can be created with Computer Graphics. To place these in context, some categories are matched with different music genres as well. From that, a different style is developed, called Beat Visualization. That style is then applied to a music video for everyone to become inspired.

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Paxton, Sue. "A Content Analysis of Violence in Music Videos." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc501107/.

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This content analysis study of music videos answered questions concerning the amount and severity of violence content during different time periods of the day. A system of classifying violence content as nonviolent, mostly light, neither light nor serious, mostly serious, and extremely serious was used to evaluate music videos from MTV. One hour from each day was randomly selected for evaluation for a period of thirty days. During this time, there were 313 occurrences of music videos which were aired and subsequently evaluated. The results indicated the majority of these music videos contained mostly light or no violence content. This study also revealed that the most likely time of day a viewer would see videos with violence would be from midnight until eight in the morning.

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Hanby, Gary T. "The Status Is Not Quo: Unraveling Music Videos." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6600.

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The Utah State Standards for media arts are general and therefore give teachers a great deal of freedom in how they present the content for media arts courses. How the teacher engages students and project assignments are left to the teacher as they walk the students through the process of making films. This thesis explores how an art teacher might use music videos to teach filmmaking techniques and engage students in the process of meaning making. My research hypothesis is that, by educating students to understand and interpret the messages they consume through media, I can help them recognize the hidden texts in visual culture. My curriculum provides students with learning activities that foster the development of critical thinking skills and also techniques for analyzing images. An important part of the curriculum for this unit is a critical study of music videos wherein the students examine music videos using semiotics and qualitative film analysis. The students explore filmmaking techniques and the processes needed to create their own messages in a music video.

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Johnson, Maya Ayana. "Harem Fantasies and Music Videos: Contemporary Orientalist Representation." W&M ScholarWorks, 2007. https://scholarworks.wm.edu/etd/1539626527.

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Books on the topic "Music videos"

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Rowley, Kay. Videos. New York: Crestwood House, 1992.

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1967-, Weir Kathryn Elizabeth, Chambers Nicholas, and Queensland Art Gallery, eds. Video hits: Art & music video. South Brisbane: Queensland Art Gallery, 2004.

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Complesso museale Santa Maria della Scala (Siena, Italy), ed. Musica per gli occhi: Interferenze tra video arte, musica pop, video clip = Music for the eyes : crossovers between video art, pop music, music videos. Cinisello Balsamo, Milano: Silvana editoriale, 2018.

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Long Beach Museum of Art. Art of music video. Long Beach, Calif: Long Beach Museum of Art, 1989.

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Marcovitz, Hal. The history of music videos. Farmington Hills, MI: Lucent Books, 2012.

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F, Roberts Donald, and United States. Office of National Drug Control Policy., eds. Substance use in popular music videos. Washington, D.C: Office of National Drug Control Policy, 2002.

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Robin, Roberts. Ladies first: Women in music videos. Jackson: University Press of Mississippi, 1996.

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F, Roberts Donald, and United States. Office of National Drug Control Policy., eds. Substance use in popular music videos. Washington, D.C: The Office, 2002.

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Chu, John. The music video guide. New York: McGraw-Hill, 1986.

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Meigs, James B. Make your own music video. New York: F. Watts, 1986.

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Book chapters on the topic "Music videos"

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Aaron-Lozano, Kailyn, and H.-Dirksen L. Bauman. "Sign Language Music Videos." In The Routledge Companion to Art and Disability, 401–16. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003009986-26.

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Feisthauer, Leo. "Reconsidering Contemporary Music Videos." In Theorizing Music Videos of the Late 2010s, 29–78. Berlin, Heidelberg: Springer Berlin Heidelberg, 2022. http://dx.doi.org/10.1007/978-3-662-65049-3_3.

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Gan, Chuang, Deng Huang, Peihao Chen, Joshua B. Tenenbaum, and Antonio Torralba. "Foley Music: Learning to Generate Music from Videos." In Computer Vision – ECCV 2020, 758–75. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58621-8_44.

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Feisthauer, Leo. "What is Music Videos’ Cultural Impact ?" In Theorizing Music Videos of the Late 2010s, 107–62. Berlin, Heidelberg: Springer Berlin Heidelberg, 2022. http://dx.doi.org/10.1007/978-3-662-65049-3_5.

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Chen, Yi, Muqing Niu, Yifei Wang, and Yuyan Xiang. "Sexual Liberation in American Music Videos: An Analysis of Cardi B's Music Videos and Their Social Response." In Proceedings of the 2022 5th International Conference on Humanities Education and Social Sciences (ICHESS 2022), 1255–68. Paris: Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-89-3_144.

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Costa, Karen. "Make Music with Your Voice." In 99 Tips for Creating Simple and Sustainable Educational Videos, 167. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003442691-111.

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Feisthauer, Leo. "Prosuming a Music Video in the Late 2010s." In Theorizing Music Videos of the Late 2010s, 79–105. Berlin, Heidelberg: Springer Berlin Heidelberg, 2022. http://dx.doi.org/10.1007/978-3-662-65049-3_4.

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Bug, Peter, and Thi Quynh Anh Dao. "Music Videos and Fashion Business—Hip-Hop Study." In Fashion and Film, 155–73. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-9542-0_8.

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Lin, Yin-Tzu, Tsung-Hung Tsai, Min-Chun Hu, Wen-Huang Cheng, and Ja-Ling Wu. "Semantic Based Background Music Recommendation for Home Videos." In MultiMedia Modeling, 283–90. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-04117-9_26.

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Feisthauer, Leo. "Summarizing the Research Status." In Theorizing Music Videos of the Late 2010s, 9–28. Berlin, Heidelberg: Springer Berlin Heidelberg, 2022. http://dx.doi.org/10.1007/978-3-662-65049-3_2.

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Conference papers on the topic "Music videos"

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Matos, Diognei de, and Erickson R. Nascimento. "Musical Hyperlapse: A Multimodal Approach to Accelerate First-Person Videos." In Anais Estendidos da Conference on Graphics, Patterns and Images. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/sibgrapi.est.2022.23258.

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With the advance in technology and social media usage, first-person recording videos has become a common habit. These videos are usually very long and tiring to watch, bringing the need to speed up them. Despite recent progress of fast-forward methods, they do not consider inserting background music in the videos, which could make them more enjoyable. This thesis presents a new method that creates accelerated videos and includes the background music keeping the same emotion induced by visual and acoustic modalities. Our approach is based on the automatic recognition of emotions induced by music and video contents and an optimization algorithm that maximizes the visual quality of the output video and seeks to match the similarity of the music and the video’s emotions. Quantitative results show that our method achieves the best performance in matching emotion similarity while maintaining the visual quality of the output video compared with other literature methods. Visual results can be seen through the link: https://youtu.be/9ykQa9zhcz8.

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Agnihotri, Lalitha, Nevenka Dimitrova, John Kender, and John Zimmerman. "Music videos miner." In the eleventh ACM international conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/957013.957103.

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Ferguson, Brent. "Form and intertextuality in movie music videos." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0040.

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Ma, Jiaju, Anyi Rao, Li-Yi Wei, Rubaiat Habib Kazi, Hijung Valentina Shin, and Maneesh Agrawala. "Automated Conversion of Music Videos into Lyric Videos." In UIST '23: The 36th Annual ACM Symposium on User Interface Software and Technology. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3586183.3606757.

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Cardoso, Igor, Rubens O. Moraes, and Lucas N. Ferreira. "The NES Video-Music Database: A Dataset of Symbolic Video Game Music Paired with Gameplay Videos." In FDG 2024: Foundations of Digital Games. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3649921.3650011.

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

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Kamata, Maiko, and Makoto Arisawa. "The four impression factors of music videos." In the 2006 ACM SIGCHI international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178823.1178925.

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Yang, Gang, Jieping Xu, and Xirong Li. "Music Positioning and Annotation For Television Videos." In ICMR '15: International Conference on Multimedia Retrieval. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2671188.2749324.

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Kamata, M., and K. Furukawa. "Three types of viewers' favorite music videos." In the international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1255047.1255087.

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November, Nancy. "Teaching Music Historical Literacy Using Video Clips." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9395.

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Abstract:

Four professionally-created, student-presented, three- to five-minute videos were integrated into two undergraduate music history courses at the University of Auckland, to support the development of key historical literacy skills. These include crucial skills and understandings that music students need to master in their first two years: identifying different kinds of music scores; understanding the difference between primary and secondary sources for music historical topics; finding one’s way around critical, “complete works” editions of music; and finding and assessing music-related literature on the Internet. The intervention led to marked improvements in student learning in each of the four areas.

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Reports on the topic "Music videos"

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Sedeño Valdellós, A., J. Rodríguez López, and SR Acuña. The post-television music video. A methodological proposal and aesthetic analysis. Revista Latina de Comunicación Social, March 2016. http://dx.doi.org/10.4185/rlcs-2016-1098en.

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Winseck, D. Growth and Upheaval in the Network Media Economy in Canada, 1984-2019. Canadian Media Concentration Research Project (CMCRP), Carleton University, November 2020. http://dx.doi.org/10.22215/cmcrp/2020.1.

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This report examines the development of the media economy over the past thirty-five years. Since beginning this project a decade ago, we have focused on analyzing a comprehensive as possible selection of the biggest telecoms, Internet and media industries (based on revenue) in Canada, including: mobile wireless and wireline telecoms; Internet access; cable, satellite & IPTV; broadcast television, specialty and pay television services as well as Internet-based video subscription and download services; radio; newspapers; magazines; music; Internet advertising; social media; operating systems; browsers, etc.

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