Academic literature on the topic 'Musicano'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Musicano.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Musicano"
Weijkamp, Janne, and Makiko Sadakata. "Attention to affective audio-visual information: Comparison between musicians and non-musicians." Psychology of Music 45, no. 2 (July 7, 2016): 204–15. http://dx.doi.org/10.1177/0305735616654216.
Full textWöllner, Clemens. "Call and response: Musical and bodily interactions in jazz improvisation duos." Musicae Scientiae 24, no. 1 (May 8, 2018): 44–59. http://dx.doi.org/10.1177/1029864918772004.
Full textZhang, J. Diana, Marco Susino, Gary E. McPherson, and Emery Schubert. "The definition of a musician in music psychology: A literature review and the six-year rule." Psychology of Music 48, no. 3 (October 22, 2018): 389–409. http://dx.doi.org/10.1177/0305735618804038.
Full textKoniari, Dimitra, Sandrine Predazzer, and Marc Méélen. "Categorization and Schematization Processes Used in Music Perception by 10- to 11-Year-Old Children." Music Perception 18, no. 3 (2001): 297–324. http://dx.doi.org/10.1525/mp.2001.18.3.297.
Full textGrašytė, Toma. "Traditional Musician in the Nowadays Lithuanian Village or Small Town’s Community." Tautosakos darbai 52 (December 30, 2016): 213–30. http://dx.doi.org/10.51554/td.2016.28874.
Full textHoltz, Peter. "What's your music? Subjective theories of music-creating artists." Musicae Scientiae 13, no. 2 (September 2009): 207–30. http://dx.doi.org/10.1177/102986490901300202.
Full textRohwer, Debbie. "A narrative investigation of adult music engagement." International Journal of Music Education 35, no. 3 (September 19, 2016): 369–80. http://dx.doi.org/10.1177/0255761416667466.
Full textKappen, P. R., J. van den Brink, J. Jeekel, C. M. F. Dirven, M. Klimek, M. Kamphuis, C. S. Docter-Kerkhof, et al. "P01.13.A The effect of musicality on language recovery after awake glioma surgery." Neuro-Oncology 24, Supplement_2 (September 1, 2022): ii26. http://dx.doi.org/10.1093/neuonc/noac174.085.
Full textIvaldi, Antonia, and Susan O'Neill. "Talking ‘Privilege’: barriers to musical attainment in adolescents’ talk of musical role models." British Journal of Music Education 26, no. 1 (March 2009): 43–56. http://dx.doi.org/10.1017/s0265051708008267.
Full textBianchi, Eric. "Scholars, Friends, Plagiarists: The Musician as Author in the Seventeenth Century." Journal of the American Musicological Society 70, no. 1 (2017): 61–128. http://dx.doi.org/10.1525/jams.2017.70.1.61.
Full textDissertations / Theses on the topic "Musicano"
Renfrew, Mary Claire. "Exploring the 'I' in musician : investigating musical identities of professional orchestral musicians." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/29570.
Full textMiranda, Simone de. "A formação do pianista no curso de bacharelado em piano da Universidade Federal de Goiás." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4740.
Full textApproved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-23T11:02:44Z (GMT) No. of bitstreams: 2 Dissertação - Simone de Miranda - 2015.pdf: 1737597 bytes, checksum: dae2d4d11fbafef9d823be9e0dee78c4 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Made available in DSpace on 2015-10-23T11:02:44Z (GMT). No. of bitstreams: 2 Dissertação - Simone de Miranda - 2015.pdf: 1737597 bytes, checksum: dae2d4d11fbafef9d823be9e0dee78c4 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-03-28
This dissertation aims to verify how does the formation of the pianist in the course of Bachelor of Music Qualification in Instrument - Piano, the School of Music and Performing Arts at the Federal University of Goiás (EMAC/UFG), keeping in view the demands of the current job market. For this, some issues that permeate the main theme have been described, including: the contemporary musician labor market, the various Pianist possibilities of action and competencies/skills, the objectives of higher education in music and some specific information about course in question, such as: history of the institution, physical space, Political Pedagogical Project, faculty evaluation to enter the course and graduate's profile. In addition to the literature was carried out field research, with questionnaires and observation of some subjects in order to see how the musical education of these students happens in practice throughout the course. This step included the participation of teachers and students of Bachelor of Music Qualification in Instrument - Piano EMAC/UFG. It was found that the labor market for the pianist is increasingly expanded, since these professionals can come to work in different ways and many different contexts to be in as a performer and/or as a teacher. In addition, it was observed that the course in question is also aware of demand in this market, however some changes in the performance of the student and the teacher will be necessary for the proposal of the Pedagogical Project politico does occur.
Esta dissertação de mestrado tem por objetivo verificar como ocorre a formação do pianista no curso de Bacharelado em Música Habilitação em Instrumento – Piano, da Escola de Música e Artes Cênicas da Universidade Federal de Goiás (EMAC/UFG), tendo em vista as demandas do mercado de trabalho atual. Para isso, alguns assuntos que permeiam o tema principal foram explanados, entre eles: o mercado de trabalho do músico contemporâneo, as diversas possibilidades de atuação do pianista e suas competências/habilidades, os objetivos do ensino superior em música e algumas informações específicas sobre o curso em questão, tais como: história da instituição, espaço físico, Projeto Político Pedagógico, corpo docente, avaliação para ingressar no curso e perfil do egresso. Além do levantamento bibliográfico foi realizada uma pesquisa de campo, com a aplicação de questionários e a observação de algumas disciplinas, com o intuito de verificar como a formação musical destes alunos acontece na prática ao longo do curso. Tal etapa contou com a participação de professores e alunos do curso de Bacharelado em Música Habilitação em Instrumento - Piano da EMAC/UFG. Foi possível constatar que o mercado de trabalho para o pianista está cada vez mais expandido, já que este profissional pode vir a atuar de diversas maneiras e nos mais diversos contextos, seja como performer e/ou como professor. Além disso, observou-se que o curso em questão também está atento a demanda deste mercado, entretanto, algumas mudanças na atuação do aluno e do professor serão necessárias para que a proposta do Projeto Político Pedagógico ocorra de fato.
Bagés, i. Rubí Joan. "Systèmes musicaux interactifs et création sonore musicale." Paris 8, 2012. http://www.theses.fr/2012PA084188.
Full textLe présent travail de thèse propose un examen de la notion de système musical interactif et fait la description d’une approche personnelle pour la conception de tels systèmes. La première partie expose un état de l’art des nouvelles technologies musicales. Dans cette même partie, est présentée une approche basée sur la construction d'un réseau d’éléments ou l’artiste est l’acteur principal. C'est l'artiste, face aux multiples interactions exploratoires et devant s’approprier une technologie prégnante, doit faire une nécessaire critique de ces outils qui excitent son propre imaginaire. Je défends que c'est l’attitude expérimentale qui se veut la plus en phase avec une utilisation de ces technologies dans le champ artistique. Roberto Barbanti oppose à la conception traditionnelle la notion de l’Ultramédia. Cette notion est confrontée aux théories musicales du compositeur Horacio Vaggione, qui se fondent sur le concept de réseaux d'objets informatiques. Dans la deuxième partie, je présente plusieurs travaux personnels qui ont été réalisés à l’aide de systèmes musicaux interactifs. Dans la troisième partie, je présente un projet très particulier autour les systèmes musicaux interactifs et du handicap médicalisé, au sein de l’APPC de Tarragone (Espagne). Le projet consiste en la création et au développement d’applications et d’activités interactives pour des personnes atteintes d’un fort et sévère handicap cérébral. L’ensemble du présent document s’achève avec une proposition d’un modèle pour la conception et l’élaboration de systèmes musicaux interactifs
Rodger, Matthew William MacDonald. "Musicians' body movements in musical skill acquisition." Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527950.
Full textDAVANZO, NICOLA. "ACCESSIBLE DIGITAL MUSICAL INSTRUMENTS FOR QUADRIPLEGIC MUSICIANS." Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/920339.
Full textRamos, Danilo. "Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não-músicos?" Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-08102008-013413/.
Full textRAMOS, Danilo. Do emotional factors during music listening tasks affect time perception of musicians and nonmusicians? 2008, 268 pages. Thesis (PhD). Faculty of Philosophy, Sciences and Letters of Ribeirão Preto. University of São Paulo, Ribeirão Preto, 2008. This study aimed to verify the role of emotions triggered by music on time perception of musicians and nonmusicians. Four experiments were conducted: In Experiment I, musicians and nonmusicians performed emotional association tasks for musical excerpts of 36 seconds duration belonging to the Western classic repertoire. The tasks required to listen to each musical excerpt and to associate it with emotional categories: Joy, Serenity, Sadness, or Fear/Anger. The results showed that most musical excerpts triggered a specific single emotion in listeners; moreover, the emotional associations of musicians were similar to the emotional associations of nonmusicians for most musical excerpts presented. In Experiment II, musicians and nonmusicians performed temporal association tasks for the three most representative excerpts of each emotion used in Experiment I. Thus, the participants had to associate each of such musical excerpts with the following durations: 16, 18, 20, 22 or 24 seconds. The results showed that for the musicians, the three musical excerpts associated with Sadness were underestimated in relation to their real time; moreover, no other emotional category was associated with more than one musical excerpt whether being underestimated or overestimated, regarding their real time, for both groups. Recent researches in Psychology of Music have shown two structural properties as the modulators of specific emotions perceived during a music listening task: the mode (the organization of the notes in a musical scale) and tempo (the number of beats per minute). Thus, in Experiment III, musicians and nonmusicians carried out emotional association tasks with musical compositions constructed in seven modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian) and three tempi (adagio, moderato, and presto). The procedure was the same used in Experiment I. The results showed that the musical mode modulated the affective valence triggered by the excerpts: musical excerpts based on major modes obtained positive affective valence indexes and musical excerpts based on minor modes obtained negative affective valence indexes; moreover, the musical tempo modulated the arousal triggered by the excerpts: the faster the tempo of the musical excerpts, the higher the arousal levels and vice versa, for both groups. In Experiment IV, musicians and nonmusicians performed temporal association tasks for those modal musical excerpts used in Experiment III. The procedure was the same used in Experiment II. The results showed that manipulations concerning arousal affected the time perception of the listeners: time underestimations due to low arousal excerpts were found for both groups; moreover, time underestimations due to high arousal excerpts were found only for nonmusicians. These results showed that in the case of musicians, time perception was affected by emotional atmospheres related to Sadness; in the case of nonmusicians, time perception was affected by factors related to the level of arousal of music events appreciated.
Gérard, Élizabeth. "L'oreille musicale, une institution symbolique du sens musical." Montpellier 3, 2000. http://www.theses.fr/2000MON30027.
Full textClauss, Greg. "Ficino's Musica Humana musico-astrological improvisation /." Connect to this title, 2008. http://scholarworks.umass.edu/theses/109/.
Full textBaily, John Sebastian. "Music, musicians and musical performance in Herat, 1973-1977." Thesis, Queen's University Belfast, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356885.
Full textCopini, Guilherme de Cesaro 1985. "Musica espectral = o tempo musical conforme Gerard Grisey." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283993.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-15T06:08:20Z (GMT). No. of bitstreams: 1 Copini_GuilhermedeCesaro_M.pdf: 72399274 bytes, checksum: b14afa1acbdd94ff753cf3f23123d8d2 (MD5) Previous issue date: 2010
Resumo: A música é uma arte temporal e seu principal material, o som, só pode existir e ser percebido quando a dimensão tempo é considerada. Assim, acredita-se que a discussão acerca da relação som-tempo na música é importante para o compositor contemporâneo. Gérard Grisey, compositor e cofundador de uma das mais importantes escolas de composição da segunda metade do século XX (a Música Espectral), apresenta uma singular visão do fenômeno musical, particularmente diante do seu desenvolvimento no tempo. Seu pensamento é fundamentado principalmente em pesquisas no campo da acústica e psicoacústica, ou seja, na estrutura física do som e na maneira como o som é percebido, respectivamente. O objetivo principal desta pesquisa é expor as reflexões de Grisey em relação ao tempo musical. Outro objetivo é a composição de uma peça original baseada nestas reflexões. Justifica-se tal recorte pela evidente atenção dada ao tema 'tempo em música' por importantes compositores do século XX (como por exemplo, Messiaen, Boulez e Grisey). Tal importância pode ser verificada tanto na obra musical, quanto teórica destes compositores. Inicialmente foi realizado aprofundamento teórico por meio do estudo dos textos produzidos pelos principais representantes e estudiosos da Música Espectral. Em seguida iniciou-se a redação da dissertação, que teve como foco a filosofia composicional de Grisey, e a composição da peça original, baseadas nas características e técnicas identificadas na primeira etapa da pesquisa
Abstract: Music is a temporal art, and its primary object, the sound, can only exist and be noticed when the dimension time is considered. Then, one believes that the discussion about sound-time relation in music is important for the contemporary composer.Gérard Grisey, composer and cofounder of one of the most important schools of composition of the second half of the 20th century (the Spectral Music), shows a singular understanding toward the musical phenomenon, especially about its development over time. His understanding is mainly based in researches in the field of acoustics and psychoacoustics, in other words, in the physical structure of sound and how it is perceived, respectively. The main objective of this research is to expose the thinking about musical time by Grisey. Another objective is to compose an original musical piece based on this thinking. This outline is justified by the evident attention that important composers of the 20th century (as Messiaen, Boulez and Grisey) gave to the subject "time in music". Such importance can be verified either in their musical and theoretical works. Initially, a study of the main bibliography produced by the leading composers and experts in Spectral Music was accomplished. Then the writing process of the thesis began, which was focused on the compositional philosophy of Grisey, and the composition of the original musical piece, based on the characteristics and techniques identified in the first part of this research
Mestrado
Musica
Mestre em Música
Books on the topic "Musicano"
Joanne, Bogart, ed. The musical of musicals: The musical! New York: Samuel French, 2005.
Find full textMarques, Henrique de Oliveira. Dicionário de termos musicais =: Dictionnaire de termes musicaux = Dictionary of musical terms. Lisboa: Estampa, 1986.
Find full textFarkas, Kiko. Cartazes musicais: Musical posters. São Paulo, SP: Cosac Naify, 2009.
Find full textThe enraged musician: Hogarth's musical imagery. Burlington, VT: Ashgate, 2005.
Find full textBarlow, Jeremy. The enraged musician: Hogarth's musical imagery. Aldershot, Hampshire, England: Ashgate, 2005.
Find full textThe musical: A research and information guide. New York: Routledge, 2004.
Find full textGenève, Musée d'ethnographie de la ville de. Pianeta musicale: Strumenti musicali dei cinque continenti. Ivrea, Italy: Priuli & Verlucca, 1991.
Find full textPlanet musician: The world music sourcebook for musicians. Milwaukee, WI: Hal Leonard, 1998.
Find full textSadaï, Yizhak. Traité de sujets musicaux: Vers une épistémologie musicale. Paris: Harmattan ; Itinéraire, 2004.
Find full textTopicality of musical universals: Actualité des universaux musicaux. Paris: Archives contemporaines, 2013.
Find full textBook chapters on the topic "Musicano"
Kenny, Ailbhe, and Catharina Christophersen. "Musical Alterations: Possibilities for Musician–Teacher Collaborations." In Musician–Teacher Collaborations, 3–12. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-1.
Full textNijs, Luc. "The Merging of Musician and Musical Instrument." In The Routledge Companion to Embodied Music Interaction, 49–57. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-6.
Full textSmith, Dana. "A Bavarian Musical Department without Bavarian Musicians." In Jewish Art in Nazi Germany, 132–48. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003160311-9.
Full textZappi, Victor, Dario Mazzanti, and Florent Berthaut. "From the Lab to the Stage: Practical Considerations on Designing Performances with Immersive Virtual Musical Instruments." In Sonic Interactions in Virtual Environments, 383–424. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-04021-4_13.
Full textSolis, Jorge, Klaus Petersen, and Atsuo Takanishi. "Interactive Musical System for Multimodal Musician-Humanoid Interaction." In Springer Tracts in Advanced Robotics, 253–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-22291-7_15.
Full textSmith, Gareth Dylan. "Musicians as Musician–Teacher Collaborators: Towards Punk Pedagogical Perspectives." In Musician–Teacher Collaborations, 39–49. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-4.
Full textMarsh, Kathryn, Catherine Ingram, and Samantha Dieckmann. "Bridging Musical Worlds: Musical Collaboration Between Student Musician-Educators and South Sudanese Australian Youth." In Visions for Intercultural Music Teacher Education, 115–34. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21029-8_8.
Full textGhosh, Dipak, Ranjan Sengupta, Shankha Sanyal, and Archi Banerjee. "Musical Perception and Visual Imagery: Do Musicians visualize while Performing?" In Musicality of Human Brain through Fractal Analytics, 73–102. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-6511-8_4.
Full textFeuer, Jane. "The International Art Musical: Defining and Periodising Post-1980s Musicals." In The Sound of Musicals, 54–63. London: British Film Institute, 2010. http://dx.doi.org/10.1007/978-1-84457-579-4_5.
Full textBabiloni, Claudio, Claudio Del Percio, Ivo Bruni, and Daniela Perani. "Empathy of the musical brain in musicians playing in ensemble." In Music and Empathy, 209–29. Abingdon, Oxon; New York: Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315596587-11.
Full textConference papers on the topic "Musicano"
Gomes, Cláudio, Josue Da Silva, Marco Leal, and Thiago Nascimento. "3A: mAchine learning Algorithm Applied to emotions in melodies." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10450.
Full textGonçalves, Luan, and Flávio Luiz Schiavoni. "The development of libmosaic-sound: a library for sound design and an extension for the Mosaicode Programming Environment." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10429.
Full textMoura, Rute, Giordano Cabral, Horhanna Almeida, and Ricardo Scholz. "Mandrit: a system for automatic generation of musical visualizations for rhythm analysis." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19422.
Full textSilva, Gisele Bernardes da, and Ronaldo dos Santos Mello. "Uma Análise de Soluções para Busca de Dados Musicais." In Escola Regional de Banco de Dados. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/erbd.2022.223522.
Full textLoureiro, Maurício, Tairone Magalhaes, Davi Mota, Thiago Campolina, and Aluizio Oliveira. "A retrospective of the research on musical expression conducted at CEGeME." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10440.
Full textAraújo, João, Avner De Paulo, Igino Silva Junior, Flávio Luiz Schiavoni, Mauro César Fachina Canito, and Rômulo Augusto Costa. "A technical approach of the audience participation in the performance 'O Chaos das 5'." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10419.
Full textSilva, Douglas, Lucas Zampar, Felipe Rodrigues, and Cláudio Gomes. "Modelo automático de classificação de gêneros musicais amazônicos." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19453.
Full textRibeiro, Estela, and Carlos Eduardo Thomaz. "A multivariate statistical analysis of EEG signals for differentiation of musicians and non-musicians." In XV Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2018. http://dx.doi.org/10.5753/eniac.2018.4442.
Full textBeer, Axel, Martin Bierwisch, and Kristina Krämer. "Das MMM2 – Ein regionalgeschichtliches Onlinelexikon der Arbeitsgemeinschaft für mittelrheinische Musikgeschichte." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.108.
Full textFernandes, Marco Antonio dos Santos, Estela Ribeiro, and Carlos Eduardo Thomaz. "Análise de características acústicas para identificação de triggers em gêneros e áudios musicais distintos." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19450.
Full textReports on the topic "Musicano"
Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.
Full textCai, Wenjie, and Hwan-Ching Tai. String Theories: Chemical Secrets of Italian Violins and Chinese Guqins. AsiaChem Magazine, November 2020. http://dx.doi.org/10.51167/acm00006.
Full textPedro, Mombiedro Sandoval. ATLAS. De musica spirituali. Ediciones de la Universidad de Castilla-La Mancha, December 2021. http://dx.doi.org/10.18239/caleidoscopio_2021.18.01.
Full textGentry, Jonathan. Memory and hypnotism in Wagner's musical discourse. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5544.
Full textGoldin, Claudia, and Cecilia Rouse. Orchestrating Impartiality: The Impact of "Blind" Auditions on Female Musicians. Cambridge, MA: National Bureau of Economic Research, January 1997. http://dx.doi.org/10.3386/w5903.
Full textCreswell, Megan. A Study Comparing Musical Abilities of Stutterers and Nonstutterers. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.7123.
Full textManhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.
Full textBanducci, Naomi. Teaching hearing-impaired children language through the use of musical rhythm. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1281.
Full textArnsdorf, Jeffrey. New Perspectives on Johannes de Muris and his Notitia artis musicae. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.7496.
Full textFrojdh, P., U. Lindgren, and M. Westerlund. Media Type Registrations for Downloadable Sounds for Musical Instrument Digital Interface (MIDI). RFC Editor, September 2006. http://dx.doi.org/10.17487/rfc4613.
Full text