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Henning, Emelie, and Martin Palmcrantz. "Tacongruity : Impact of congruent music on sales of tex-mex products in a Swedish grocery store." Thesis, Uppsala universitet, Företagsekonomiska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-176778.
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This explanatory study investigated the possible causal relationship between congruent background music and consumer behavior. We studied empirically whether sales of tex-mex products was affected when congruent music was played in conjunction to the tex-mex section of a Swedish grocery store. A field experiment was conducted where stereotypical Mexican music was played in conjunction to the tex-mex section. Previous experiments have tested, and confirmed, the notion that music stereotypically related to a country can prime related knowledge and the selection of certain products if the products fit with that knowledge. Earlier research has also been able to support the notion that consumers tend to spend more money and time in store when congruent music is played. Mexican, Pop, and no music was played during three weekends and sales data on tex-mex products was gathered and analyzed. The results indicate that fewer consumers purchased tex-mex products when Mexican music was played, but those who did spent more money and/or purchased a slightly larger number of tex-mex products. However, the small differences between the music conditions were not statistically significant. The potential reasons for this is discussed in the analysis and lastly, implications for future research as well as managerial implications are discussed.
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Michel, Norbert. "A Theoretical and Empirical Analysis of the Impact of the Digital Age on the Music Industry." ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/td/64.
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We present an in-depth analysis of the music industry and use our findings to judge the practical assumptions and design of an original theoretical model. The model is in three stages, where, in a Hotelling-type framework, the last agents to act are consumers who choose between copying, purchasing, or staying out of the market for music. Prior to the last stage, the record label chooses its profit maximizing price and, in the first stage, we incorporate the artist-label bargaining agreement into a theoretical framework using the Nash cooperative bargaining solution. The current structure of the music industry is a combination of the oligopoly and monopolistic competition models, consisting of five major labels and many independents. Despite major labels' advantage in large-scale distribution, we argue that digital downloading has the potential to radically alter the current industry structure, and that artists would be unable to sell their music in such an environment without enforceable copyrights. Our model assumes that the most important determinants of CD and copy demand are consumers' tastes and transaction costs of copying, CD prices, and the substitutability between CDs and copies. We hypothesize that Internet file-sharing has been undertaken by both consumers who were previously not in the market, and by those who decided to copy rather than buy. In regard to firm strategy, the model suggests that labels could increase the sales of CDs by trying to increase consumers' taste for music, perhaps by reducing the price of CDs. Our model also predicts a positive relationship between artists' optimal share of album sales and their bargaining power, as well as a negative relationship between artists' optimal share and their risk aversion. Since lowering the reliance on labels for distribution would increase artists' bargaining power, our model predicts that artists' share of profits should increase as legitimate digital distribution gains prominence. We also provide empirical testing of our hypothesis that some music file-sharing has been done by consumers frequently not in the market. After examining consumers' expenditures and aggregate industry sales, we are unable to reject our hypothesis
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Beránek, Tadeáš. "Specifika amerického maloobchodního trhu s hudbou." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-197243.
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This diploma thesis deals with complex issue of American recording industry and its specifics in retail industry. The thesis is composed of three main parts which are being linked with its theme, and they complement one another. The first part is a theoretical framework of American recording industry. The chapters pursue basic terminology of music market, analysis of business environment in the USA and comparison of the recorded music to other entertainment markets. The second part engages in history of the recorded music, yet it specially concentrates on market's outputs, i.e. volume of sold recordings and corresponding revenues for the period 1989-2012. Eventually, the final part thoroughly studies music business, its subjects and principles. Chapters describe and analyze the profile of American music consumer, the theory of music copyright and financial aspects of recording as well as music publishing.
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Štencel, David. "Analýza prodeje hudby prostřednictvím Internetu." Master's thesis, Vysoká škola ekonomická v Praze, 2008. http://www.nusl.cz/ntk/nusl-15947.
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The aim of this thesis is to create a comprehensive view of current developments in the music market, to explore the position of digital distribution in comparison to the distribution in the high street shops and to analyze current trends in the distribution of digital music. At the same time, this thesis could be interesting for readers because, today there is no current publication in Czech, in which the subject would be so comprehensively addressed. The goal of the first chapter is to briefly map the distribution of intangible goods and services over the Internet. The second chapter aims to analyze the distribution of digital music, to compare its success with distribution in the high street shops and examine current trends and possible future developments. The aim of the final chapter is to examine the services of the most important digital music distributors in the world as well the Czech market and also point out weaknesses and opportunities for improving customer service.
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Grobert, Julien. "L'effet de la congruence avec l'image d'une entreprise de deux facteurs atmosphériques (parfum et musique), sur la satisfaction et les réponses comportementales des individus : application au secteur bancaire." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENG001/document.
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Alors que l'univers bancaire va connaître ces prochaines années, de profonds changements liés à une restructuration de son modèle, il nous semble pertinent de comprendre si le marketing sensoriel peut créer de la valeur ajoutée pour le client et les entreprises dans ce contexte. Le fait de diffuser un parfum et/ou une musique doit néanmoins faire l'objet de certaines recommandations. En effet, un parfum, ou une musique, fortement congruent avec l'image d'une entreprise aura-t'il des effets différents (et plus ou moins forts) qu'un parfum (ou qu'une musique) faiblement congruent avec l'image de l'entreprise, sur la satisfaction et les réponses comportementales des individus ? Cette thèse a pour objectif d'étudier cette thématique. Deux phases de recherches ont été mises en oeuvre. Tout d'abord, une phase qualitative qui a permis de faire ressortir les marqueurs de l'identité de la marque, permettant la création de deux types de parfums (fortement congruent vs. faiblement congruent) et de deux types de musiques (fortement congruente vs. faiblement congruente). La deuxième phase, quantitative a été réalisée in situ. Les résultats montrent qu'une diffusion de parfum faiblement congruent avec l'image de l'entreprise conduit à des réponses plus favorables de l'individu sur la perception des éléments physiques et in fine sur sa satisfaction et ses réponses comportementales. A contrario, une diffusion de musique produit globalement des effets négatifsWhile the bank sector will be the center of huge changes, during next years, due to a restructuration of its model. It seems relevant to understand whether the sensory marketing can create added value for the customer and companies in this context A scent and/or a music diffusion must nevertheless be the object of recommandations. Indeed, will a scent or/a music with high level of congruency with brand image have differents effects(and stronger or lower) than a scent (or a music) with a low level of congruency on the satisfaction and behavioral responses of consumer ? This doctoral research aims to investigate this issue. Two diffents stages have been realised. First of all, a qualitative study allowed to show brand's identity markers allowing the creation of two types of scents (high congruency vs.low congruency) and two types of musics (high congruency vs. low congruency). The second stage, quantitative, has been realised in situ. Results showed that diffusion of a perfume with low congruency with the brand image leads to more favorable responses of physical elements and in fine on the satisfaction and on the behavioral responses. Conversely,a music's diffusion overall leads to negatives effects
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Labská, Julie. "Vliv technologií na hudební průmysl z hlediska distribuce hudby." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-162616.
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Diploma thesis deals with the influence of technologies on the music industry in terms of music distribution. In the first part the two major issues are discussed for deeper understanding of the topic. The change of perception and creation of music over certain period of time and the development of technologies related to music in historical context. Following chapters are mainly focused on current technologies, digitalization and the internet, and global turnovers which have had impact on distribution of music as a consequence of technological spread. In addition to this, the issue of legal aspects related to sharing and downloading music via internet is described. The strategies have been created and adopted by the music industry representatives as a response to the situation of increasing intensity of infringing copyright law by unauthorized sharing and decreasing number of physical media sales. The goal of these strategies has been aimed at support expansion of online music services and raising of public copyright awareness. The work analyses and assesses above mentioned strategies and estimates the possible future development of music industry. Assumptions are created on the basis of historical background and current situation. The partial objective is to evaluate whether the sales of physical media have future as a main source of income for music industry or not.
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Mannis, Jose Augusto 1958. "Design de difusores sonoros a partir de processo serial : adequação acustica de pequenas salas a performance e audição musical." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284649.
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Orientadores: Jonatas Manzolli, Stelamaris Rolla BertoliTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-11T10:18:44Z (GMT). No. of bitstreams: 1 Mannis_JoseAugusto_D.pdf: 7332479 bytes, checksum: c694f419a7ad3630d709d9c453b80cb7 (MD5) Previous issue date: 2008
Resumo: Este trabalho é dirigido a soluções de conforto acústico para escuta e performance musical, considerando sobretudo aspectos psicoacústicos da escuta subjetiva de músicos e especialistas nesta área. A partir de critérios de avaliação acústica de salas para música em Beranek e princípios de design e funcionamento dos difusores de Schroeder, a pesquisa apresenta soluções originais de concepção e design de difusores a partir da técnica de composição musical com 12 sons de Schoenberg, e pode ser qualificada como inovação tecnológica. A escuta técnica e de apreciação musicais são ao mesmo tempo base, guia e eixo deste trabalho, assim como a melhoria de condições permitindo escutas de boa qualidade é seu objetivo. Perguntas como: ¿O que acontece no som que é importante para os músicos em performance?¿, ¿Como e o que o músico ouve?¿ e ¿O que é importante para a escuta musical?¿ estão profundamente presentes tanto neste trabalho quanto nos trabalhos de Beranek que, por essa razão, foi, teoricamente, um dos pontos de partida adotados. A pesquisa aqui realizada, bem como este trabalho, situa-se na confluência de três grandes áreas do conhecimento: Artes e Humanidades (Música, Sonologia, Arquitetura), Ciência (Física: Acústica) e Tecnologia (Engenharia de áudio, Acústica aplicada, com alguns recursos de Engenharia Civil e Engenharia Mecânica). Na introdução é destacada a importância do som e do silêncio tanto na música quanto na acústica. Como fundamentação teórica há uma exposição ampla de princípios de acústica relacionados, tipologia das simetrias, elementos da técnica de composição musical serial, aspectos desejáveis e indesejáveis em auditórios, parâmetros de avaliação acústica de salas, princípios e funcionamento de difusores acústicos. São propostas três soluções para novos tipos de difusores, bem como apresentados dois projetos detalhados de adequação acústica de salas para música onde são aplicados, com medição de resultados em um dos casos. É apresentada e discutida uma simulação de desempenho das superfícies seriais através de análise modal, verificando a qualidade e desempenho esperados dos difusores concebidos
Abstract: This study is aimed at acoustic comfort solutions for music listening and performance by mainly considering psychoacoustic aspects related to subjective listening of musicians and specialists concerned with this field of knowledge. Starting from acoustic evaluation criteria of music rooms (opera houses and concert halls) in Beranek and principles of design and operation of Schroeder Diffusers, this piece of research presents original solutions and conception as well as design solutions for diffusers by taking Schoenberg¿s 12- sounds musical composition technique as a starting point. This research can be qualified as technological innovation. Simultaneously, both technical listening and music appreciation listening stand for a basis, a guide, and a main point for this work, as well as the improving conditions that allow good quality listenings makes up its objective. Questions such as: ¿What is important in the sound for performing musicians?¿, ¿How and what does the musician listen to?¿ and ¿What is important for music listening?¿ are deeply present either in this research or in Beranek¿s works, which therefore have been theoretically deemed as one of the starting points in use. The research undertaken ¿ as well as this work ¿ lays within the confluence of three major fields of knowledge: Arts and Humanities (Music, Sonology, Architecture), Science (Physics: Acoustics), and Technology (Audio Engineering, Applied Acoustics, in addition to a few resources from Civil Engineering and Mechanical Engineering). The introduction emphasizes the importance of sound and silence either in music or acoustics. The theoretical basis include an extensive exposition of related acoustic principles, symmetry types, elements of serial musical composition technique, desirable and undesirable aspects in auditoriums, acoustic evaluation parameters of rooms, principles and operation of acoustic diffusers. Three solutions are proposed for new types of diffusers. Two detailed projects of acoustic appropriateness are presented for music rooms and concert halls, where they are applied and, in one of the cases, results therefrom are measured. A simulation of the performance obtained in serial surfaces through modal analysis by checking both quality and performance expected from the conceived diffusers is presented and discussed.
Doutorado
Doutor em Música
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Parks, Regina Anne Tse Kenneth. "The saxophone music of Juan Orrego-Salas a biography and performer's guide for four works /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/417.
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Parks, Regina Anne. "The saxophone music of Juan Orrego-Salas: a biography and performer's guide for four works." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/417.
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Juan Orrego-Salas has made a significant contribution to the world of Latin American music. One of the most well known composers from Chile, he has taught around the world and founded the Latin American Music Center at Indiana University. While at Indiana, Orrego-Salas began to write for the saxophone. To date, he has composed four chamber works for saxophone: Quattro Liriche Brevi, Opus 61 for alto saxophone and piano, Partita, Opus 100 for alto saxophone and piano trio, Secuencias, Opus 120 for alto saxophone and percussion, and Movimiento Concertante, Opus 123 for alto saxophone and string quartet. Orrego-Salas also included the alto saxophone in his scherzo for orchestra, Riley's Merriment, Opus 94. After a current biography of Juan Orrego-Salas, this document provides a history and performer's analysis of each of the chamber works including the discussion of any errata, where applicable.
Included in the appendices are documents that performers or teachers interested in Orrego-Salas' works might find useful. These include a letter written by Orrego-Salas to the master class participants of Eugene Rousseau titled, "The Saxophone and Me" and key articles found on the Internet about Orrego-Salas during the research of this document. Perhaps a source for future research will be the saxophone excerpt from Riley's Merriment, Opus 94 or the list of Chilean saxophone music compiled by Roger Greenberg.
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Carboni, Márcio Henrique de Sousa. "Qualidade acústica em salas de ensino de música." reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/28854.
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Resumo: Este trabalho busca revelar as preferências de professores de música para salas voltadas para o ensino e prática de música, principalmente no que diz respeito ao tempo de reverberação. Para alcançá-las várias etapas devem ser seguidas. Sabe-se que o fato de não haver um consenso sobre o assunto entre professores se dá principalmente por falta de conhecimento de um vocabulário descritivo das salas e sua acústica. Sendo assim, inicialmente é necessário estabelecer este vocabulário e tornálo familiar a estes atores. Neste trabalho foram explicados conceitos como: reverberação, calor, brilho, intimismo, timbre e coloração, clareza. Esses foram apresentados a uma amostra de professores de música visando sensibilizá-los, através de palestra/vídeo que utilizou um sobrevôo sobre a história da música como apoio para se falar sobre acústica. Essa capacitação foi feita para que, com um embasamento técnico fixado, eles pudessem fazer seus julgamentos ao responderem a um questionário. Essa survey foi aplicada a 30 professores de música de diversas localidades do país. Apesar de não ser possível fazer inferências estatísticas com uma amostra reduzida, foi possível ter pistas sobre as preferências dos professores fazendo uma análise qualitativa das respostas. Através de questões abertas desse questionário levantou-se um assunto inicialmente não considerado para este estudo que veio a fazer com que o autor repensasse as condições prioritárias para uma boa sala de ensino e prática musical considerando o contexto brasileiro: a maior preocupação com o isolamento acústico, talvez tão importante quanto a definição do tempo de reverberação mais adequado para estas salas.
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Wu, Zeyuan. "Becoming Sages: Qin Song and Self-Cultivation in Late Imperial China." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587689622910344.
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Salzmann, Ralph. "Multimodale Erlebnisvermittlung am Point of Sale eine verhaltenswissenschaftliche Analyse unter besonderer Berücksichtigung der Wirkungen von Musik und Duft." Wiesbaden Dt. Univ.-Verl, 2007. http://d-nb.info/985467762/04.
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Lappyová, Nella. "Distribuce hudby českých interpretů po nástupu internetu." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-198228.
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This thesis deals with the actual topic in the world of music, distribution of music of Czech musicians after the birth of the Internet. The work is written mainly from a practical point of view, but in the first chapters the reader is also familiar with theoretical concepts such as digitization, distribution, Long -tail Theory or Digital Rights Management. After the introduction to the topic analysis of sales of albums and songs on Czech music market follows, based on the statistics of the International Federation of the Phonographic Industry IFPI. Following chapter focuses on the business models of music sales, paid music services available for the Czech market and the issue of intellectual property. There are also explored current trends in music. The final chapters deals with an exploration from the database Market & Media & Lifestyle, and author's research (questionnaire survey). Key words:
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Viero, Claudia Rogeria Gaida. "Caracterização das condições acústicas de salas de aula destinadas ao ensino da música na educação básica." Universidade Federal de Santa Maria, 2012. http://repositorio.ufsm.br/handle/1/7835.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThe acoustic inadequacy in an environment for teaching and study of music can trigger problems in the process of learning music, because the music content or the speech itself, can be modified, creating possibilities of erroneous adaptations to inadequate conditions. Because of this, there is concern with the implementation of Law nº. 11 769/2008 that amends Law no. 9.394/1996 - Law of Guidelines and Bases of Education (LDB), which inserts the teaching of music in primary education on a mandatory way, but not exclusive in the school curriculum. This study aims to contribute to the integration of music in schools so that it can be done correctly, providing to the public school the opportunity to experience this learning. Therefore, it aims to propose recommendations for the adaptation of the existing rooms events, lectures and musical activities in the schools of the state. It was used as a sample, five different types of rooms existing in the state of basic education in Santa Maria - RS which are characterized by architectural forms and construction set in the '70s, '80s and '90s. We collected information on dimensions, geometry and materials, having as goal, to evaluate the acoustics of the rooms. We evaluated the acoustic characteristics of the room, with and without furniture, using measures to determine the impulse response of the acoustic parameters (ISO 3382/2009), of verify the acoustic quality (clarity of musical sounds) and the speech intelligibility. These acoustic parameters are the Reverberation Time, Decay Time Initial, Clarity, Definition and Speech Transmission Index. The evaluation results showed the reverberation times and acoustic parameters of the rooms to be unsuitable for music. There was a determination, through trials in reverberation room (ISO 354/2003),of the sound absorption of classes, chairs, backpacks and other common objects in classrooms. This a showed that the furniture has great influence on the behavior of absorption of the room, changing the experimental results when performed with the furnished room. But does not mean to be a solution to the acoustics conditions of the rooms studied, but rather a guide to possible modifications of the rooms, materials and furnishings. Thus, recommendations were proposed to the adaptation of the rooms now used for events, lectures and musical activities in the schools of the state, fulfilling the proposed objective.
A inadequação acústica em um ambiente destinado ao ensino e estudo da música pode desencadear problemas no processo de aprendizagem, pois os conteúdos musicais ou a própria fala, podem ser modificados, criando possibilidades de adaptações errôneas às condições existentes. Por isso a preocupação com a implementação da Lei nº. 11.769/ 2008, que altera a Lei nº. 9.394/1996 - Lei de Diretrizes e Bases da Educação (LDB), que insere o ensino de música na educação básica de forma obrigatória, mas não exclusiva nos currículos escolares. Este estudo pretende contribuir para que a inserção da música nas escolas seja feita de forma correta, propiciando ao público escolar a oportunidade de vivenciar esse aprendizado. Para isto, objetiva propor recomendações para a adaptação das salas já existentes e utilizadas para eventos, palestras e atividades musicais nas escolas da rede estadual. Foram utilizadas como amostra, as cinco diferentes tipologias de salas já existentes na rede estadual de educação básica de Santa Maria RS que se caracterizam por formas arquitetônicas e construtivas definidas nas décadas de 70, 80 e 90. Foram coletadas informações sobre dimensões, geometria e materiais, objetivando avaliar as condições acústicas das salas. Avaliaram-se as características acústicas das salas, com e sem mobília, utilizando-se medidas da resposta impulso para determinação de parâmetros acústicos (ISO 3382/2009), para verificar a qualidade acústica (clareza dos sons musicais) e a inteligibilidade da fala. Esses parâmetros acústicos são o Tempo de Reverberação, Tempo de Decaimento Inicial, Clareza, Definição e Índice de Transmissão da Fala. Os resultados da avaliação mostraram tempos de reverberação e parâmetros acústicos das salas inadequados para a música. Houve a determinação, através de ensaios em câmara reverberante (ISO 354/ 2003), da absorção sonora de classes, cadeiras, mochilas e outros objetos comuns em salas de aula. Também mostraram que o mobiliário tem grande influência no comportamento da absorção da sala, alterando os resultados experimentais quando realizados com a sala mobiliada. Porém não significa ser uma solução para as condições acústicas das salas estudadas, mas sim uma orientação para possíveis modificações das salas, seus materiais e mobília. Sendo assim, foram propostas recomendações para a adaptação das salas já utilizadas para eventos, palestras e atividades musicais nas escolas da rede estadual, cumprindo com o objetivo proposto.
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Brum, Cristhian Moreira. "SIMULAÇÃO ACÚSTICA DE SALAS DE AULA EM ESCOLAS DE EDUCAÇÃO BÁSICA: UMA PROPOSTA TIPOLÓGICA PARA PRÁTICA MUSICAL." Universidade Federal de Santa Maria, 2012. http://repositorio.ufsm.br/handle/1/7813.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThe study of room acoustics is linked to the importance of sound inside a room, so the architectural characteristics of the internal space determine the acoustic behavior. To get better acoustics of a room there are computational methods that simulate the acoustic behavior of a room before his execution, providing the prediction of the simulated environment behavior from the acoustic point of view. The acoustic parameters of the resulting acoustic simulations as Reverberation Time, Initial Decay Time, Clarity, Sharpness and Speech Transmission Index, are responsible for identifying the acoustic conditions of the geometric model of a classroom. This geometric model used as sample classrooms of different types of municipal schools in Santa Maria - RS, with the aim of developing a classroom typology for the music teaching from virtual acoustic models using computing simulation. Geometric models of classrooms for teaching music were developed using as input data, dimensions, shapes and elements usually used in these environments and developed representative virtual acoustic models these virtual classrooms, in which were measured acoustic parameters related to the reverberation time from the impulse response of the acoustic models of virtual rooms. We analyzed the experimental results and simulated with and without furniture for the acoustic parameters, and these comparisons were related to the values of JND (Just Noticeable Difference) near the standard tolerance according to ISO 3382/2009 with normalized values of 500 Hz to 1000 Hz. A geometric study was developed based on Bolt (1946) which defined the appropriate geometric measures of the room. Thus, a functional typology was originated which meets the architectural acoustic requirements and the initial proposal of presenting a music classroom typology providing an environment with acoustic quality, according to Law number 11.769/2008 that inserts education music in schools on a mandatory basis.
O estudo da acústica de salas está vinculado à importância do som dentro de um recinto, logo, as características arquitetônicas do espaço interno determinam seu comportamento acústico. Para buscar melhores condições acústicas de um recinto disponibilizam-se métodos computacionais que simulem o comportamento acústico de uma sala, antes de sua execução, proporcionando a previsão de comportamento do ambiente simulado do ponto de vista acústico. Os parâmetros acústicos resultantes das simulações acústicas, como: Tempo de Reverberação, Tempo de Decaimento Inicial, Clareza, Definição e o Índice de Transmissão da Fala são responsáveis pela identificação das condições acústicas do modelo geométrico de uma sala de aula. Este modelo geométrico utilizou como amostra as salas de aula das diferentes tipologias de escolas da rede estadual de educação de Santa Maria - RS, com o objetivo de desenvolver uma tipologia de sala de aula, para o ensino da música, a partir de modelos acústicos virtuais utilizando-se simulação computacional. Foram desenvolvidos modelos geométricos de salas de aula para o ensino da música utilizando-se como dados de entrada, dimensões, formatos e elementos, usualmente utilizados nestes ambientes, e desenvolvidos modelos acústicos virtuais representativos destas salas, aos quais foi feita uma avaliação dos parâmetros acústicos relacionados ao tempo de reverberação, partindo-se da resposta impulso dos modelos acústicos virtuais das salas. Foram analisados resultados experimentais e simulados na situação sem mobília e com mobília, para os parâmetros acústicos, e essas comparações foram relacionadas com os valores de JND (em inglês Just Noticeable Difference) padronizadas as margens de tolerância, de acordo com a ISO 3382/2009, com valores normalizados de 500 Hz a 1000 Hz. Também foi desenvolvido um estudo geométrico, a partir de Bolt (1946), que definiu as medidas geométricas adequadas da sala. Com isto, originou-se uma tipologia funcional, observando as exigências acústicas arquitetônicas, cumprindo a proposta inicial de apresentar uma tipologia de sala de aula, para a música, a fim de proporcionar um ambiente com qualidade acústica, atendendo a Lei nº 11.769/2008, que insere o ensino da música nas escolas, de forma obrigatória.
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Dilys, Lauras. "Muzikos naudojimas pardavimo vietose." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140605_123558-54394.
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Muzika yra viena iš svarbiausių parduotuvės atmosferos formavimo priemonių. Kartu su interjero dizainu pasirenkama muzika turėtų atspindėti pardavimo vietos stilistiką ir tokiu būdu pritraukti pageidaujamus klientus. Verta paminėti, jog muzikos kuriama atmosfera neapsiriboja parduotuvės plotu ir sukuria zoną šalia parduotuvės, kurioje atsidūręs praeivis pasijaučia beveik viduje: muzikinis fonas veikią žmogaus pasąmonę sužadindamas emocijas ir maloniai kviečia užeiti į vidų, taigi parduotuvės slenksčio peržengimas tampa natūralesniu ir mažiau įpareigojančiu veiksmu. Tyrimai rodo, jog muzika skatina geras lankytojų emocijas, palankesnį nusiteikimą parduotuvės ir jos personalo atžvilgiu ir mažina kontakto užmezgimo su darbuotojais baimę. Atitinkamo tempo muzika gali nuraminti klientą arba sužadinti jame aktyvumą ir tokiu būdu išspęsti srauto problemas. Muzika taip pat veikia subjektyvų laiko suvokimą, mažina nepasitenkinimą tuomet, kai tenka laukti eilėje, taip iššaukia įvairias asociacijas, kurias tikslingai išnaudojus galima nepastebimai reklamuoti pasirinktas prekes ir tokiu būdu skatinti jų pardavimus. Apgalvotas muzikinio fono pasirinkimas įmonei atneša didesnį pelną, taigi kiekvienoje pardavimo vietoje turi būti išnaudojamos muzikos teikiamos galimybės norint pasiekti užsibrėžtų tikslų.Music is one of the most important means of forming the retail environment. Along with interior design music should illustrate the style of a retail establishment in order to attract desired customers. It is worth mentioning that that the atmosphere that music provides is not limited to the confines of a shop. Music creates a zone surrounding the shop, where a passing by consumer feels almost as though he is already inside. The musical background affects the consumer subconsciously, it pleasantly invites the person to come in, at which point coming in doesn’t seem like such a commitment – the transition becomes more natural. Research shows that music stimulates customers’ good emotions, a more favorable judgment of the shop and its employees and also it helps decrease the fear of engagement with personnel. A respective tempo of music can make the customer more relaxed or more energetic and thus solve problems concerning customer traffic flow. Music also affects customers’ time perception, decreases dissatisfaction caused by the occasional waiting time and tends to evoke all kinds of associations which, if used correctly, become a form of covert marketing. A well chosen musical background means greater sales for the company, thus music should be used in every point of sale, if its owners wish to reach their desired goals.
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Music, Arif [Verfasser], and Dorian [Akademischer Betreuer] Didier. "The versatility of tetracoordinated boron-centered salts for transition-metal free c-c bond formations in organometallic- and electro-chemistry / Arif Music ; Betreuer: Dorian Didier." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2020. http://d-nb.info/1215499884/34.
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Ribeiro, Giann Mendes. "Autodeterminação para aprender nas salas de aula de violão a distância online : uma perspectiva contemporânea da motivação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/76731.
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Esta pesquisa aborda a motivação para aprender música em ambientes de aprendizagem virtual sob uma perspectiva teórica sociocognitiva da motivação. Tem como objetivo geral investigar os processos motivacionais de estudantes em interações online, em aulas de violão a distância, no curso de Licenciatura em Música da Universidade do Estado do Rio Grande do Norte (UERN), com base na Teoria da Autodeterminação (RYAN; DECI, 2004; DECI; RYAN, 2008a). E como objetivos específicos analisar as percepções de satisfação das necessidades de autonomia, competência e pertencimento dos estudantes nas interações online; identificar a qualidade motivacional dos estudantes para aprender violão em interações online; discutir influências socioambientais sobre a motivação de estudantes; verificar as manifestações das necessidades psicológicas básicas em interações síncronas e assíncronas e destacar as ferramentas de interações online que auxiliaram no processo educacional a distância. A metodologia utilizada neste estudo foi a pesquisa-ação integral (MORIN A., 2004). Os dados analisados foram coletados por meio de observação participante, entrevistas semiestruturadas, filmagens das interações realizadas nas videoconferências e registros de diálogos em fóruns síncronos e assíncronos. Os resultados apontaram que a principal motivação dos estudantes não era a intrínseca. Em vez disso, a motivação foi considerada complexa, multifacetada e sensível a determinadas situações. As interações síncronas e assíncronas, da forma complexa e complementar proposta nesse estudo, puderam suprir as necessidades psicológicas básicas dos estudantes, bem como possibilitar uma alternativa viável e efetiva para a formação musical desses estudantes.This research approaches the motivation in learning music in virtual learning environments under the sociocognitive theoretical perspective of motivation. The research aims, as general objective, to investigate the students’ motivational processes in online interaction in guitar classes through distance education in the Degree in Music at the State University of Rio Grande of Norte (UERN), based on the Self-Determination Theory (RYAN; DECI, 2004; RYAN; DECI, 2006). The specific objectives sought to analyze the perceptions satisfaction of the needs for autonomy, competence and belonging of students in online interaction; to identify the quality motivational of the students in those online interactions; to discuss the environmental influences on the students’ motivation, to verify the manifestations of basic psychological needs for synchronous and asynchronous interactions, and to highlight the tools that helped the online interactions in a distance education process. The methodology used on this study was the educational action-research (MORIN, 2004). The analyzed data were collected through participant observation, semi structured interviews, footage of the interactions made in videoconferencing and conversation records in synchronous and asynchronous forums. The results show that the major motivation of the students was not intrinsic. Instead, the motivation was considered complex, multifaceted and sensitive in determined situations. The synchronous and asynchronous interactions, in the complex and complementary way proposed in this study, could provision the basic psychological needs of the students, as well as, enable a viable and effective alternative to the musical education of these students.
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Santos, Marta Antão Rodrigues dos. "Qualidade acústica de escolas de música do Algarve: análise e proposta de medidas de melhoria." Master's thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/11823.
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As salas de aula para prática musical são locais em que a exigência de conforto acústico é essencial, permitindo assim, garantir uma boa sonoridade e perceção de todas as gamas sonoras emitidas pelos instrumentos musicais. Este trabalho visa a avaliação acústica de salas de aula de oito escolas de música do Algarve (Academia de Música de Lagos, Conservatório de Portimão Joly Braga Santos, Conservatório de Música de Lagoa, Conservatório de Música de Albufeira, Conservatório Regional do Algarve Maria Campina, Conservatório de Música de Olhão, Academia de Música de Tavira e Conservatório Regional de Vila Real de St.º António). Em cada escola foram apenas avaliadas duas salas de aula que foram eleitas através de um Questionário realizado aos alunos e professores das escolas. Nessas mesmas salas foram medidos vários parâmetros acústicos tais como o Tempo de Reverberação, Clareza, Definição, Tempo de Decaimento Inicial, Tempo Central, Fator de Força e Ruído de Fundo. Os resultados obtidos através de medições efetuadas foram analisados de acordo com a Norma EN ISO 3382 – 1 Acoustics - Measurement of room acoustic parameters e no fim foram propostas medidas para a melhoria da qualidade acústica das salas; Abstract:
The classrooms are places for musical practice in which the requirement of acoustic comfort is essential, thus, ensuring a good perception of sound and all sound ranges issued by musical instruments. This paper aims to review the acoustics of classrooms eight music schools in the Algarve (Lagos Academy of Music, Portimão Conservatory of Joly Braga Santos, Lagoa Conservatory of Music, Albufeira Conservatory of Music, Algarve Regional Conservatory Maria Campina, Olhão Conservatory of Music, Tavira Academy of Music and Regional Conservatory of Vila Real de St. Antonio). In each school were only evaluated two classrooms that were elected through a questionnaire conducted among students and teachers of the schools. In these same rooms were measured various acoustic parameters such as Reverberation Time, Clarity, Definition, Early Decay Time, Centre Time, Sound Strength and Background Noise. The results obtained from measurements taken were analyzed in accordance with EN ISO 3382-1 Acoustics - Measurement of room acoustic parameters and measures were proposed in order to improve the acoustic quality of rooms.
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Em?dio, Luiz Felipe Sousa Tavares. "As orquestras invadem as salas de estar: redefini??o dos padr?es e espa?os para a escuta musical no Rio de Janeiro (1926-1931)." Universidade Federal do Rio Grande do Norte, 2010. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16940.
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Previous issue date: 2010-08-31In the late nineteenth and early twentieth century, a series of technical innovations have been commercially and widespread on some urban groups everyday, in Brazil. Some of these technological innovations have played an important role in large-scale distribution of artistic works, which until then had an extremely limited potential for diffusion. Development of devices that can record and play music has been mechanically inserted into this logic, while the gramophones, phonographs, cylinders and discs became popular. By this time a new moment for production and consumption of music had started. Especially since the begging of electrical system for registration and production of sounds, this process bought important meaning to the way some peoples in Rio would leasing and sense music, besides it had contributed substantially to changes in the spatial references of these individuals
No final do s?culo XIX e in?cio do s?culo XX, uma s?rie de inova??es t?cnicas foram difundidas comercialmente e repercutiram consideravelmente no cotidiano de alguns grupos urbanos brasileiros. Algumas dessas novidades tecnol?gicas desempenharam um papel importante na difus?o em larga escala de obras art?sticas que at? ent?o tinham um potencial de difus?o extremamente restrito. O desenvolvimento de dispositivos capazes de registrar e reproduzir m?sica mecanicamente esteve inserido nessa l?gica, ao passo que a populariza??o de gramofones, fon?grafos, cilindros e discos inauguraram um novo momento para a produ??o e consumo de m?sica. Sobretudo a partir da inaugura??o do sistema el?trico de registro e reprodu??o de sons, esse processo trouxe repercuss?es relevantes para as sensibilidades auditivas e maneiras de se ouvir m?sica entre algumas camadas da popula??o carioca, al?m de ter contribu?do substancialmente para altera??es nos referenciais espaciais desses indiv?duos
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Picaud, Myrtille. "Mettre la ville en musique (Paris-Berlin). Quand territoires musicaux, urbains et professionnels évoluent de concert." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0069.
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Cette thèse de sociologie porte sur les salles de musique dite « vivante », en s’appuyant sur une comparaison entre Paris et Berlin. L’étude des salles de musique rend compte de la production des définitions et des hiérarchies sociales des territoires musicaux, urbains et professionnels. À la diversité des genres musicaux qui y sont programmés répond la variété des manières de les entendre : publics assis ou debout, configurations intimistes ou stades, etc. L’articulation entre approche ethnographique et analyse statistique témoigne du lien entre esthétiques et usages sociaux de la musique. Ces territoires musicaux, constitués par les cadres d’écoute et les esthétiques, sont inégalement reconnus par les politiques culturelles et ne recoupent pas strictement les frontières des genres. Par ailleurs, les sous-champs musicaux dans les deux villes sont structurés par des logiques spatiales, ce qu’éclaire la cartographie des lieux de musique. Et, si la localisation des salles influe sur leur qualification musicale, à l’inverse, le fait musical participe aux transformations des représentations des territoires urbains. Outre l’ancrage géographique, cette thèse s’intéresse de près à la construction d’une offre musicale à travers la sélection des artistes par les programmateurs et programmatrices des salles berlinoises et parisiennes. Ainsi, elle donne à voir la délimitation de la fonction de programmation comme territoire professionnel, en interrogeant sa variabilité selon l’histoire du sous-champ musical et les contraintes liées à la concentration économique du secteur de la musique live. Une série d’entretiens avec les programmateurs et programmatrices a permis la comparaison des pratiques et des trajectoires de ces intermédiaires. Celle-ci atteste d’un développement professionnel inégal à Paris et Berlin et d’usages distincts du désintéressement dans une activité de programmation internationalisée. Les intermédiaires, comme les politiques culturelles, participent aux oppositions au sein du sous-champ des salles de musique, qui reflètent les centres et les périphéries du champ musical transnational. En effet, selon leur position dans le sous-champ et leurs ressources, les salles ne programment pas les mêmes catégories d’artistes. Ainsi, la retraduction locale de la valeur musicale contribue ainsi au positionnement de Paris et de Berlin comme capitales culturellesThis thesis in sociology offers a comparison of music venues in Paris and Berlin. Studying music venues sheds light on the definitions and hierarchisation of musical, urban and professional territories. Diverse music genres are listened to in these venues, and ethnographic observation shows that events happen in many different configurations – audiences are sometimes seated or standing, in large arenas or intimate atmospheres, etc. Statistical methods enable the study of the connection between music styles and the way they are socially appropriated. These musical territories, unequally supported by cultural policies, distinguish themselves from the strict definition of musical genres. The musical subfield is also structured by spatial forces, revealed by the cartography of the music venues in both cities. Their localisation affects the way venues are perceived and defined but, conversely, the music scene also participates in the transformation of representations about the urban territories. Beyond the urban analysis of music, this thesis examines music production through the role of bookers, who select the artists in the venues. In Paris and Berlin, the definition of booking as a territory of competence depends on the musical subfield’s history and is influenced by pressure linked to the increasing economic concentration within the live music market. Interviews with bookers offer material for comparing the cultural intermediaries’ work practices and social trajectories. They illustrate different forms of professional development and uses of disinterestedness in the internationalised activity of booking. Cultural intermediaries and policies participate in the dual structure of the subfields, which reflects the centres and peripheries of the transnational musical field. Indeed, depending on their resources and position in these subfields, venues do not book the same type of artists. Thus, they tend to the local translation of musical value, all the while taking part in Paris’ and Berlin’s positioning as cultural capitals
Die Dissertation behandelt in vergleichender Perspektive „lebendige” Musik in Berlin und Paris. Musik wird hierbei als kulturelle Praxis in Form von Konzerten definiert, stellt die Orte an denen Musik stattfindet ins Zentrum und schließt daher das bloße Musikhören aus. Die Studie bezieht in diesem Rahmen beruflich-professionelle Aspekte, das Konzert als eine sinnliche Wahrnehmung und einen sozialen Tatbestand („fait social“) sowie das anwesende Publikum mit ein. Musik wird somit nicht musikwissenschaftlich sondern soziologisch analysiert. Das Konzert wird als künstlerische Ausdrucksform in seinem sozialen Rahmen betrachtet: das soziale Treiben während des Konzerts, die Besonderheiten des Veranstaltungsorts und ähnliche Aspekte sind in diesem Sinne integrale Bestandteile dieser auf Städteebene angesiedelten Forschungsarbeit
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Pita, Juliano Veraldo da Costa. "Os espaços para a música contemporânea." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-20062012-160748/.
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O presente trabalho propõe uma investigação acerca dos espaços de apresentação musical e sua relação com a música apresentada nestes, com especial enfoque na música erudita contemporânea. Tal proposta justifica-se a partir da verificação de uma dicotomia entre a concepção arquitetônica destes espaços, e a música que neles se apresenta, em sua maioria de um repertório consolidado no final do século XIX. Tal dissociação é particularmente interessante tendo em vista que, até o advento das vanguardas modernas do início do século XX, a música e os espaços de apresentação formavam um conjunto em consonância com o seu tempo. A partir desta verificação, alguns exemplos de espaços voltados para a música contemporânea e as suas características únicas foram analisados, e elucubrações acerca do estado atual destes, traçadas. A abordagem escolhida, entretanto, não foi a da descrição e análise do ponto de vista arquitetônico, técnico ou ainda, social; optou-se por uma investigação que relacionasse o desenvolvimento próprio da música e a sua relação com o espaço onde esta é apresentada, como forma de reforçar esta ligação e identificar os pontos de intersecção entre as duas disciplinas. Para tanto, iniciou-se o trabalho com alguns exemplos de salas de concerto recentemente construídas no contexto brasileiro: A Sala São Paulo (1999) e o Auditório Ibirapuera (2005), seguindo-se com uma verificação da música comumente apresentada nestes. A partir da verificação desta música, buscou-se o momento de caracterização do tipo arquitetônico do auditório, no tocante à organização espacial e colocação social destes. Dois espaços foram tomados como exemplo: o Palais Garnier (1875) em Paris e o Festspielhaus (1876) em Bayreuth, por representarem, cada um a seu modo, uma faceta deste tipo. Por fim realizou-se uma comparação entre a música apresentada nestes espaços e a música contemporânea, reforçando a dicotomia observada, e identificando preliminarmente o início do século XX como o momento de ruptura da relação direta entre arquitetura e música. Para comprovação desta afirmação, foi realizado uma restrospectiva dos locais onde a música possuía importância proeminente, e em paralelo, procurou-se abordar conceitos próprios da musica e da arquitetura, buscando criar subsídios para a compreensão do trabalho por músicos e arquitetos. Estes conceitos são essenciais para compreensão não só destes espaços, mas também das relações gerais entre os diferentes aspectos da vida social de sua época, de crucial importância para compreensão da dimensão da ruptura relatada. A partir desta revisão, algo descritiva e linear, partiu-se para reflexões dos motivos da mudança da relação entre arquitetura e música no Modernismo, e as consequências deste fato para ambas as disciplinas. Também foram abordados aspectos contemporâneos da música e da arquitetura, em espaços onde ainda buscou-se esta integração característica de outrora. Por fim, as conclusões buscam refletir sobre o futuro desta relação e do papel do arquiteto na produção de espaços para a música contemporânea, a partir de entrevistas com profissionais da área e da bibliografia especializada de ambas as disciplinas. É digno de nota que a bibliografia que aborda sobre este enfoque esta relação é extremamente escassa; este trabalho, portanto, adotou um perfil mais generalista e de amplo espectro, em detrimento de uma especificidade sobre um ponto específico desta relação, como o início de uma tentativa de suprir este vazio bibliográfico.This paper proposes an investigation into the spaces of musical performance and its relationship with the music presented on these, with special focus on contemporary classical music. This proposal is justified from the verification of a dichotomy between the architectural design of these spaces, and the music that presented on them in a repertoire of mostly consolidated in the late nineteenth century. This dissociation is particularly interesting given that, until the advent of modern vanguards of the beginning of the twentieth century, music and performance spaces formed a group in line with your time. From this investigation, some examples of spaces facing the contemporary music and its unique characteristics were analyzed, and considerations about the current state of these, drawn. The approach chosen, however, was not the description and analysis from the architectural, technical or social point of view; it was decided by an investigation that relates the development of music itself and its relationship with the space where it is played as how to strengthen this link and identify the points of intersection between the two disciplines. To do so, the work began with some examples of recently built concert halls in the Brazilian context: The Sala São Paulo (1999) and the Auditório Ibirapuera (2005), followed with an investigation of the music commonly presented in these. From the verification of this music, it was sought to characterize the momentum of architectural auditorium, with regard to spatial organization and social setting of these. Two spaces were taken as example, the Palais Garnier (1875) in Paris and the Festspielhaus (1876) in Bayreuth, because they represent, each in its way, one facet of this type. Finally there was a comparison between the music presented in these spaces and contemporary music, which reinforces the dichotomy observed and preliminarily identifying the beginning of the twentieth century as the moment of transformation of the direct relationship between architecture and music. To prove this claim, was held a retrospective of where music had preeminent importance, and in parallel, we tried to address their own concepts of music and architecture, seeking to create elements for understanding the work of musicians and architects. These concepts are essential to understanding not only of these spaces, but also of general relations between different aspects of social life of his time, of crucial importance for understanding the dimension of rupture reported. Through this review, sometwhat descriptive and linear, reflections of the reasons for the changing of the relationship between architecture and music in Modernism, and the consequences of this fact to both disciplines were made. It was also discussed aspects of contemporary music and architecture in places where it was sought an integration. Finally, the conclusions sought, from interviews with professionals and specialized literature of both disciplines, to reflect on the future of this relationship and the role of the architect in producing spaces for contemporary music. It is noteworthy that the literature that addresses this relationship is extremely scarce; this work, therefore, adopted a more general profile and broad spec- trum, rather than a specific point on a specificity of this relationship, as the beginning of a attempt to fill this void of literature.
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Johnson, Graham Mathieu. "The Impact of Colleges on House Prices in Ohio." Oberlin College Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1212551133.
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Pluquet, Céline. "Le cinéma muet, un art musico-visuel : pratiques, théories et esthétiques de la musique de cinéma à Paris entre 1907 et 1929." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080053.
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Cette thèse entend articuler les enjeux historiques, théoriques, culturels et esthétiques de la musique de cinéma pendant la période muette à travers le cas de l’exploitation parisienne. Elle interroge le rôle de la musique d’accompagnement dans la définition du cinéma propre à cette période.Cette étude rend compte de l’établissement de pratiques, théories et de formes filmiques et musicales que conditionne la musique de cinéma. Une première définition de la musique de cinéma entre 1906 et 1907 définit le spectacle cinématographique en tant que pantomime cinématographique dès lors qu’il apparaît comme représentation artistique, en l’instituant en tant qu’expérience musico-visuelle. La musique de cinéma est alors progressivement marquée par la reconnaissance de l’orchestre comme modèle de pratique d’accompagnement dans les salles parisienne dès le lendemain de la Grande Guerre. Enfin, l’ancrage de la musique de cinéma se confirme dès lors que les théoriciens instaurent une pensée autour de l’accompagnement musical d’un art cinématographique tout le long des années 1920.Cette enquête nous conduit ainsi à repenser le rôle de la séance comme moment fondateur de ce qui définit le cinéma. La musique de cinéma incarne, en somme, une clef de voûte qui rassemble une conception du cinéma à la fois en tant qu’art et spectacle cinématographiqueThis thesis intends to articulate the historical, theoretical, cultural and aesthetic aspects of film music during the silent era through the case of Parisian theaters. It questions the role of music and how it defined cinema at that specific time. This study shows the establishment of practices, theories, filmic and musical forms conditioned by film music. A first definition of film music between 1906 and 1907 describes the cinematic show as being a cinematic pantomime from the moment it appears as an artistic representation, as both a musical and visual experience. Shortly after the Great War, film music is gradually marked by the recognition of the orchestra as a model of musical accompaniment practice in Parisian theaters. Finally, film music becomes fully embedded when theorists establish the idea of the musical accompaniment of a cinematic art throughout the 1920s.This investigation thus leads us to rethink the role of the cinematic show in the definition of cinema. In short, film music represents the cornerstone which brings together a perception of cinema as being both an art and a performance
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Securato, Andrea Silvia. "Influência da música, da iluminação e Crowding na atenção do consumidor: um estudo exploratório em ambiente de laboratório de Varejo." Escola Superior de Propaganda e Marketing, 2017. http://tede2.espm.br/handle/tede/274.
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The store environmental factors and their influences on consumption are current and relevant themes, dealt with by much of the academic literature. These factors, divided into auditory, visual, olfactory, tactile, tasteful and social, are presented as the focus of managerial strategies, do to the interferences in the dynamics of attention at the point of sale. This paper seeks to clarify this dynamic, in face of three factors: auditory, visual and social. For that, the variables of music, lighting and crowding and their influences on consumer attention in a simulated supermarket environment were considered. The analysis was carried out in the Retail Lab of the School of Advertising and Marketing with the use of EyeTracking technology to identify the visual attention in front of six varied scenarios. The results point to a positive impact of music of moderate height (ambient sound), as well as influences of the high and natural lighting and acceleration of the decisions of purchase by the density of individuals (crowding). Such results contribute to the academic and managerial knowledge in marketing, with indication of proposals for future studies.
Os fatores ambientais de loja, e suas influências sobre o consumo são temas atuais e relevantes, tratados por grande parte da literatura acadêmica. Estes fatores, divididos em auditivos, visuais, olfativos, táteis, degustativos e sociais apresentam-se como foco das estratégias gerenciais, apresentada as interferências nas dinâmicas de atenção no ponto de venda. Este trabalho busca aclarar esta dinâmica, diante de três dos fatores: auditivo, visual e social. Para tanto, foram consideradas as variáveis de música, iluminação e crowding, e suas influências na atenção do consumidor em ambiente simulado de supermercado. A análise foi realizada no Retail Lab da Escola Superior de Propaganda e Marketing, com o uso da tecnologia Eye Tracking para identificação a atenção visual, diante de seis cenários variados. Os resultados apontam para um impacto positivo de músicas, de altura moderada (som ambiente), bem como influências da iluminação alta e natural, e aceleração das decisões de compra pela densidade de indivíduos, crowding. Tais resultados contribuem para o conhecimento acadêmico e gerencial em marketing, com indicação de propostas para estudos futuros.
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Gary, Julie. "Esthétique de la musique en Chine médiévale : idéologies, débats et pratiques chez Ruan Ji et Ji Kang." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1061/document.
Full textAbstract:
Dans la Chine du IIIè siècle, les mutations politiques et intellectuelles considérables survenues après l’effondrement des Han favorisent l’éveil d’une conscience inédite de l’individu, ainsi que l’émergence de nouvelles tendances philosophiques (le néo-taoïsme de l’Étude du Mystère) et l’apparition d’une activité artistique en rupture avec la tradition qui s’est imposée durant quatre siècles d’hégémonie confucéenne. La musique, qui occupe une place d’élection dans la vie des lettrés, voit évoluer le statut et la pratique auxquels elle était jusqu’alors confinée, l’outil moralisateur au service de la concorde sociale s’affirmant désormais comme une distraction libre et privée, affranchie de ses finalités politiques et civilisatrices. Notre travail prend pour objet les conceptions de la musique qui ont vu le jour dans ce contexte de l’avènement esthétique et d’une valorisation sans précédent des émotions individuelles. En nous concentrant plus particulièrement sur Ruan Ji 阮籍 (210-263) et Ji Kang 嵇康 (223-262), figures de proue de la pléiade des Sept Sages de la Forêt de Bambous et éminents poètes, philosophes et musiciens, nous avons cherché à étudier la réflexion esthétique qui s’élabore dans leurs écrits autour des questions de l’origine et la nature de la musique, de ses fonctions morales et sociales, de son utilisation politique ou macrobiotique, de ses vertus éthiques ou diététiques, ou encore de son lien aux émotions. L’analyse textuelle est complétée par celle de pratiques ou de gestes musicaux : le sifflement chez Ruan Ji, la cithare chez Ji Kang, qui donnent corps aux discours et illustrent leur mise en œuvre concrète dans la vie de ces auteurs. De sorte que l’esthétique ne se définit plus seulement comme un discours, mais aussi comme un ethos, et que l’effort d’affranchissement de la musique est contemporain d’une d’émancipation des sujets mêmes de l’expérience esthétiqueIn third-century China, the huge political and intellectual mutations occurring after the collapse of the Han dynasty result in the awakening of a new self-consciousness of man and the emergence of new philosophical trends (the so called Dark Learning), or also an artistic activity breaking off with four centuries of Confucian orthodoxy. Music, which occupies a privileged position in the life of literati, evolves as well, as far as its traditional status and practice are both concerned. No more considered a tool of moralization for the sake of civilized order or social harmony, it becomes a private and free distraction, emancipated from political or any other pragmatic purpose. The conceptions of music appearing in this context of nascent aesthetics provide the subject matter of our research. Focusing on Ruan Ji 阮籍 (210-263) and Ji Kang 嵇康 (223-262), two leading figures of the well-known literati group “the Seven Sages of the bamboo grove” who were also famous poets, thinkers and musicians, we attempt to examine their aesthetic thought throughout their main writings on music, concerning issues such as the origins and nature of music, its moral or social functions, its political or macrobiotic use, its ethical or dietetic virtues, and also its relation to man’s emotions. The textual analysis is completed by the study of musical practices or gestures (Ruan Ji’s whistling, Ji Kang’s playing the zither), that illustrate the effective application of their ideas in concrete life. Therefore, aesthetics does not only consist in a mere discourse, but becomes a kind of ethos, in which the emancipation of music is inseparable from that of the individual himself, through his aesthetic experience
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Fonseca, Cristina, and Cristina Fonseca. "The Influence of Music Congruency and Music Tempo on Sales in a Restaurant." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/jg746m.
Full textAbstract:
碩士國立臺灣科技大學
管理學院MBA
107
Several experimental studies have demonstrated that background music affects consumer behavior in service environments. This study reports research on the effect of music congruency and music tempo on consumer behavior in a restaurant. The research examines the effect of these two variables on the amount of money spent and the time spent in a restaurant. For music congruency, three levels (congruent, no-congruent and no music) were established. For music tempo, songs were rated as slow and fast. Familiarity was used as a moderator variable. The results indicated that music congruency and music tempo affected the amount of money spent and the time spent. People spent more money on the congruent level and under slow songs. Music congruency made people stayed more time at the restaurant, but slow and fast songs did not have a statistically significant effect on the time spent. Familiarity did not have a significant effect on the dependent variables, but post-hoc analyses on amount spent revealed that it was marginal significant under the no music level.
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Saerodji, Monica Garby, and 模?卡. "Data Analysis for Predicting Ticketing Sales of Classical Music Concert in Taipei." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/44788466070017335687.
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碩士國立臺灣科技大學
工業管理系
104
Classical music, one of music genre, has its own special audience with unique characteristics of the consumer behavior. For example, for Taipei metropolitan in Taiwan, the ticket sales of classical music concerns with lower price in fact is better than the sales of tickets with higher price. Therefore knowing the characteristics and purchasing pattern of classical music concerts is very crucial for the success of their concert ticket promotion. In this research, multivariate regression analysis and Artificial Neural Network (ANN) were used to study and predict the classical music ticket sales of low, medium, and high price category by using data features which might affect the ticketing sales such as type of classical music, whether the concert has sponsorship, and so on. The ticket sales data of classical music concert from 2010 to 2011 in Taiwan provided by an online ticketing company in Taiwan was used for investigation. The experimental result shows that the ANN model can generate the better prediction result comparing with the multivariate regression method. In average, ANN model can obtain 0.103 of RMSE which can be considered as 10% prediction error in terms of the percentage of ticket sold across three price category. This prediction result also show the percentage of total ticket sold of high price category can be forecasted with higher accuracy.
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Yang, Ying-Jyun, and 楊穎鈞. "Does YouTube click-through rate affect physical album sales of music artists?" Thesis, 2014. http://ndltd.ncl.edu.tw/handle/58534650800921774680.
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碩士國立中山大學
企業管理學系研究所
102
The purpose of this study is to present how the YouTube click-through rate affects music billboard. The data was collected from G-music Chinese billboard from January 3, 2014 to April 17, 2014. The data of official hit click-through rate, like, unlike and people’s comments were also collected from YouTube as study material. This study has assumed that click-through rate and billboard charts have the statistical significant impact to music billboard. After I used Survival analysis, the result of studies shows that click-through rate and Billboard charts do not have the statistical significance to music billboard. The main significant variable is people’s comments divided by click-through rate. Consequently, click-through rate and like do not affect Billboard charts；What does really affect Billboard charts? The real affects is people’s comments divided by click-through rate. More people leave comments on YouTube, more people pay more attention; therefore, more people will buy the album.
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Cameron, Samuel. "Music in the Marketplace. A Social Economics Approach." 2015. http://hdl.handle.net/10454/9074.
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NoMuch recent economic work on the music industry has been focused on the impact of technology on demand, with predictions being made of digital copyright infringement leading to the demise of the industry. In fact, there have always been profound cyclical swings in music media sales owing to the fact that music always has been, and continues to be, a discretionary purchase. This entertaining and accessible book offers an analysis of the production and consumption of music from a social economics approach. Locating music within the economic analysis of social behaviour, this books guides the reader through issues relating to production, supply, consumption and trends, wider considerations such as the international trade in music, and in particular through divisions of age, race and gender. Providing an engaging overview of this fascinating topic, this book will be of interest and relevance to students and scholars of cultural economics, management, musicology, cultural studies and those with an interest in the music industry more generally.
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Zheng, Kai-Jen, and 鄭凱仁. "Research on the Interaction Between Non-pop Music Retail Sales Marketing and Consumer’s Re-buying will." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/b98w5w.
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碩士銘傳大學
管理研究所碩士在職專班
96
The digital technology along with the internet strongly affects the conditions and scale of the global music industry. The record’s consumer society in Taiwan is even worse due to the widespread of illegal copy and the disregard of the Copyright Acts. In the past, people used to buy records from the record store. However, the change of consuming habits resulting from the rise of complex supermarkets, shopping malls and the warehouse stores oppresses the traditional record retailers who insist on their proficiency and service. For this reason, the research will focus on the interaction between the non-pop music retail sales marketing and consumer’s re-buying will herewith to realize their consuming habits. The research begins with the instruction of the non-pop music retail sales business and discusses the marketing issues including sales, products and promotions that affect consumer’s re-buying will along with the survey of consumer’s “care” & “satisfaction”. Music is around the world and music is a part of every culture. Plentiful artistic creation reflects each culture’s essence and diversity. An affecting melody can enrich a motion picture. The atmosphere and ambiance become elegant when music is playing. Non-pop music reveals the spirit of the music and makes our lives more beautiful with its simplicity. By way of case study, we can realize that individual needs always affect customer’s cognition and decision. The research offers referable materials for the administration of retail sales in every industry and helps proprietors meet their customer’s need when the M society is oncoming.
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Kuo, Yi-hom, and 郭奕宏. "Does Facebook popularity affect sale? The impact of Facebook popularity on the physical album sales of music artists." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/mz7j5t.
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碩士國立中山大學
企業管理學系研究所
102
In this thesis, the equivalence of popularity and album sales will be discussed its relative to Taiwan pop-music artist. The number of “Like” on Facebook has been adopted as the popularity index. Billboard charts information is used for sales volume because of the physical albums selling record cannot be obtained. Because selling percentage of Billboard charts could not estimate the explicit sales quantity. Consequently, artist’s week status in Billboard charts is substituted for sales record. The Billboard charts and Facebook “Like” data from 30 music artists in A.D. 2012 has been referred. The contexts also contained the albums sales impact from technical implement, the artist’s brand management, other researches in Facebook likes. After the introduction of survival analysis, the hazard function of survival analysis has been adopted to analyze the issue in this research and it is computed by Logit model is meant to the probability to leave Billboard chart. Empirical analysis indicated the 4 preceding week accumulated likes (before being on billboard) and the accumulated likes every week (after being on billboard) do not have the statistical significance. However, MV accumulated likes is significant index to album sales. The artist has more “Like” in MV will cause the lower probability of leaving the Billboard. From the statistical results in this thesis, it presented a phenomenon in pop music market which popularity is not equal to the album sales wholly.
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Schimmel, Carl William. "Piano Concerto." Diss., 2008. http://hdl.handle.net/10161/625.
Full textAbstract:
The dissertation consists of a Piano Concerto, written for first performance in Fall 2008 by Blair McMillen, piano, and the Raleigh Civic Symphony conducted by Randolph Foy. The three movement work is scored for piccolo, 2 flutes (1 doubling piccolo), 2 oboes, English horn, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, 4 horns in F, 3 trumpets in C, 2 tenor trombones, bass trombone, tuba, timpani, 3 percussionists, strings, and piano solo. The work is approximately twenty minutes in duration.
The first movement, "Fantod," employs a neo-Romantic idiom, featuring the soloist as both aggressive virtuoso and as a subtle residual resonance which emerges from the orchestral texture. The second movement, "Lament," serves as a simple, pensive, and sorrowful aftermath to the frenzied first movement. In the third movement, "Rondoburlesque," the mood of the work becomes considerably more lighthearted, and moments of the first two movements are caricatured.
The Concerto's harmonic and melodic organization derives from a set theoretical design. The first movement uses the harmonic minor scale and its inversion, the second movement uses the melodic minor scale, and the last movement uses the natural minor scale (the major scale). Important and unique subsets of these scales are used to provide both contrast and interrelatedness between movements. In particular, the main melodic theme of the first movement returns at the end of the last movement.Dissertation
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Martins, Maria Inês Cunha de Eça de Oliveira. "Impacto da música ambiente nas vendas de hipermercados." Master's thesis, 2019. http://hdl.handle.net/10071/19050.
Full textAbstract:
A música é uma arte presente no dia-a-dia de qualquer pessoa. Esta pode ser
utilizada como uma ferramenta do Marketing, afetando o comportamento do consumidor
e beneficiando as marcas. Associados a isto, encontram-se os hipermercados, mercado
crescente em Portugal, com grande impacto na sua economia. Assim, a duração da
compra, a satisfação e a vontade de regressar são ferramentas para atingir um aumento
das vendas dos hipermercados. A música, através das suas características – notoriedade,
tipo, tempo e volume – pode ser um meio para as atingir.
O principal objetivo desta dissertação passa por verificar se a música e as suas
características, tempo, notoriedade, tipo e volume, podem alterar os comportamentos dos
consumidores, de forma benéfica para os hipermercados, mais particularmente tendo um
impacto positivo nas vendas. Foram realizados dois estudos: (1) entrevistas direcionadas
a profissionais da área, com vista a compreender a sua experiência e opinião, e (2)
inquéritos aos clientes, avaliados por 9 hipóteses, formuladas a partir da revisão da
literatura. Para análise dos dados quantitativos recorreu-se ao SPSS, mais especificamente
a testes não paramétricos: independência do Qui-Quadrado e Fisher.
Os principais resultados apurados, com contribuições da revisão de literatura
relevantes sobre o tema, realçam o possível efeito inconsciente da música e impacto no
comportamento do consumidor, conforme as características da mesma. Destacam ainda
uma importância da música para o bem-estar do mesmo, afetando as suas emoções.Music is an art form which is present on everyone’s daily routine. It can be used as a Marketing tool, affecting the consumer behavior and benefiting each brand. Associated to this, one can identify the hypermarkets, a growing market in Portugal, with huge impact in the Portuguese economy. Purchase duration, consumer satisfaction, and willingness to comeback stand out as means to increase sales in hypermarkets. Through its characteristics – familiarity, type, tempo and volume – music may be a way to achieve these means. This dissertation aims to verify whether music and its characteristics, tempo, familiarity, type and volume can alter consumer behavior, benefitting hypermarkets, particularly with positive impact in sales. Two studies were conducted: (1) directed interviews with Marketing professionals, with the intent of understanding their experience and opinion, and (2) consumer surveys, assessed through 9 hypothesis, formulated from a literature review. In order to analyze quantitative data, SPSS was utilized, particularly for non-parametric tests: Chi-Square test of independence and Fisher. The main results from both methodologies, with relevant contributions from literature review, emphasize the possible subconscious music effect and impact on consumer behavior, according to said music characteristics. Furthermore, findings of this study draw attention to music importance to consumer well-being, as it affects his or her emotions.
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Saleh, Pascha Khaled [Verfasser]. ""Gefrorene Musik" : das Verhältnis von Architektur und Musik in der ästhetischen Theorie / vorgelegt von Khaled Saleh Pascha." 2004. http://d-nb.info/970647670/34.
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Batista, Maria João Salgado da Silva. "Apoio aos alunos na aprendizagem da performance : treino da ansiedade em salas de estudo adaptadas." Master's thesis, 2013. http://hdl.handle.net/10400.14/21464.
Full textAbstract:
Para atingir um elevado nível na performance, um músico deve estar bem em todos
os aspetos da saúde (físico, mental e social). A ansiedade na performance aparece pelo fato
desta necessitar de um grande nível de coordenação e habilidade, e quando tal acontece
pode afetar alguns elementos como a concentração, a memória, a coordenação e o
relaxamento motor. Muitos estudos têm constatado um número elevado de instrumentistas
com problemas no seu desempenho devido à ansiedade, sendo que muitas pesquisas nessa
área têm desenvolvido trabalho com a introdução de instrumentos específicos para abordar
a ansiedade na performance musical, como é o caso da Music Performance Anxiety
Inventory (MPAI-A). A presente dissertação apresenta dois estudos distintos mas que se
complementam.
O primeiro estudo teve como objetivo traduzir, adaptar e validar a MPAI-A para
língua portuguesa. Após a autorização da autora, a escala MPAI-A foi traduzida e validada.
A escala em língua portuguesa foi aplicada a 161 alunos, de ambos os sexos, de uma escola
profissional de música. Para a validação concorrente, foi utilizado o State-Trait Anxiety
Inventory for Children (STAIC C-2) versão validada na língua portuguesa. As análises
psicométricas realizadas (análise fatorial exploratória, análise da consistência interna e
avaliação da validade concorrente com o STAIC C-2) permitiram concluir que a versão
portuguesa do MPAIA-A apresenta níveis elevados de validade e fidelidade.
O segundo estudo, de cariz exploratório, baseou-se num processo de investigação
experimental que visa treinar a ansiedade na performance num contexto de estudo em salas
adaptadas onde existe o controlo de alguns fatores extrínsecos ao momento da
performance. O estudo, desde a recolha de dados e intervenção do plano de melhoria, com
o treino da ansiedade no contexto das aulas de TI (Trabalho Individual), decorreu na
primeira parte do semestre do ano letivo de 2013-2014. As aulas de TI são ministradas num conceito novo e único, idealizado e desenvolvido na instituição onde foi realizado o
estudo, sendo que as referidas aulas são dadas em cabines isoladas com tecnologia digital
avançada que permite um contato permanente entre o professor e o aluno. Os indivíduos
que constituem a amostra, num total de quatorze alunos, de ambos os sexos, de uma escola
profissional de música na faixa etária dos doze anos, completaram duas baterias de
questionários para a avaliação da ansiedade-traço e da ansiedade na performance. Estes
questionários foram realizados antes e depois da intervenção.
Não se registaram, no estado geral da ansiedade na performance, decréscimos
significativos. No entanto existiram casos isolados, que apresentaram decréscimos
significativos pós-intervenção, apresentando níveis de ansiedade mais baixos.
Apesar de não se obter resultados significativos, na globalidade dos resultados do
estudo, verificou-se que este tipo de estudo evidencia potencialidade para ser reproduzido
no contexto académico musical.To achieve a high standard in performance, a musician must be well in all aspects of health (physical, mental and social). Anxiety in performance appears because this requires a high level of coordination and skill, and when this happens, it can affect some elements such as concentration, memory, motor coordination and relaxation. Many studies have found a large number of musicians with problems in its performance due to anxiety, and many researches have developed work in this area with the introduction of specific tools to address anxiety in musical performance, such as the Music Performance Anxiety Inventory (MPAI -A). This dissertation presents two distinct but complementary studies. The first study aimed to translate, adapt and validate a MPAI into Portuguese. After permission of the author, the MPAI scale was translated and validated. The scale in Portuguese was applied to 161 students, of both sexes, of a professional music school . For concurrent validation, we used the State- Trait Anxiety Inventory for Children (Staic C - 2) validated in the Portuguese language. The study allows us to consider the sample with high degrees of reliability and reproducibility, which translates this study as coming from a sample not inclinedand replicable to other populations. The second study was based on an experimental research process that seeks to train anxiety on performance in the context of study adapted rooms where there is some control of extrinsic factors to the moment of performance. The study, from data collection to intervention of the improvement plan, with training of anxiety in the context of IT classes (Individual Work), took part in the first semester of the academic year 2013-2014. Classes are taught IT in a new and unique concept, designed and developed in the institution where the study was conducted, and those classes are conducted in isolated booths with advanced digital technology that allows a permanent contact between teacher and student. Individuals in the sample, a total of fourteen students, of both sexes, at the age of twelve, from a professional music school, replied two complete questionnaires for the assessment of trait anxiety and anxiety on performance. These surveys were conducted before and after the intervention. Respecting to anxiety on performance, in overall, there were no significant decreases. However there have been isolated cases, which showed significant decreases post-intervention, with lower levels of anxiety. Although no significant results in the global results of the study, it was found that this type of study shows potential to be played in the musical academic context.
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Brown, Andrew Philip. "The South African Society of Music Teachers : its history, contribution and transformation." Thesis, 2016. http://hdl.handle.net/10500/22599.
Full textAbstract:
This study records the history and activities of the South African Society of Music Teachers (SASMT) from its founding in 1922 until 2015, concentrating on the contribution it has made to music education in South Africa and the extent to which it has adapted to changing socio-political circumstances.
Within the context of South African history and its education system, a study of the SASMT's Constitution, journal and other archival material was undertaken. The SASMT's reaction to changing trends in music education, including multiculturalism and the praxial philosophy, was contrasted with the activities of the South African Music Educators' Society (SAMES) and comparable overseas organisations. The mission and activities of ISME and PASMAE were used as a yardstick for determining the extent to which the SASMT fulfills the music educational needs of post-apartheid South Africa. Initially the SASMT provided a link between Europe and South Africa, focusing almost exclusively on Western Art Music. With an arguably colonial-based outlook, the organisation helped to unite music teachers by means of various projects and activities, as well as through its magazine and by forming a strong relationship with the overseas examining bodies and Unisa. Throughout its history, the SASMT has grappled with determining exactly what aspects of music education it represents, and consequently who should be admitted to membership. This became particularly pertinent in the 1980s with the formation of the South African Music Educators' Society, which highlighted the need for a more open organisation in the context of the fragmented education system of the times.
The SASMT has a long, stable history, with a network of centres and institutional members, and in the late 1990s was appointed as the National Affiliate of ISME. Currently the SASMT is characterised by reduced participation in its activities and a membership that does not adequately reflect South Africa's demographics. The study concludes with recommendations as to how the SASMT might transform its vision to serve fully the needs of South African music education.Art History, Visual Arts and Musicology
D. Litt. et Phil. (Musicology)