Bibliografías temáticas / Music televisions

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Literatura académica sobre el tema "Music televisions"

Autor: Grafiati
Publicado: 10 de marzo de 2023

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Artículos de revistas sobre el tema "Music televisions"

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Galloway, Kate. "Rewind, revisit, relisten: Transport, spatial displacement and mixtape environments in Small Radios Big Televisions". Soundtrack 11, n.º 1 (1 de agosto de 2020): 99–118. http://dx.doi.org/10.1386/ts_00007_1.

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Small Radios Big Televisions (2016) guides the player through a series of abandoned modern factories to locate objects and solve puzzles, including cassette tapes that transport them to virtual locations. Each tape presents a diorama-like environment, ranging from natural environments, including forests and beaches. Throughout Small Radios Big Televisions players must warp and electronically distort music and sounds, magnetizing tapes. These musical disruptions of the tape tracks are a core game mechanic. This article draws on autoethnographic gameplay, material and spatial analysis to investigate how players explore abandoned worlds stored on glitchy analogue cassettes full of visual and sonic noise.
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Qureshi, Regula Burckhardt. "His Master's Voice? Exploring Qawwali and ‘Gramophone Culture’ in South Asia". Popular Music 18, n.º 1 (enero de 1999): 63–98. http://dx.doi.org/10.1017/s0261143000008734.

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‘No modern communications medium is more intrusive in modern Indian life than recorded and electronically amplified sound’ (Babb 1995, p. 10). In South Asia, even the most exclusive student of unmediated music-making cannot avoid a mediated public soundscape that may well transmit the music being studied over loudspeakers, radios, televisions, and cassette players. This is certainly the case for qawwali, a musical genre which is firmly embedded in Sufi practice, but is also widely recorded and media-disseminated for as long as the life of the Indian record industry itself. Acknowledging this musical reality after years of live study has prompted me first to situate the study of recorded qawwali vis-à-vis my own scholarly conventions and vis-à-vis the pioneering work on sound recording done in the very region of my own study. The aim is to address the problematic of an ethnographic approach to recorded qawwali, and to present preliminary findings, including some culturally meaningful examples from the repertoire.
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Yaroshovych, I. G., B. P. Tchaikovskyj, B. M. Mykychak y T. S. Yaroshovych. "Noise pollution is one of the causes of occupational diseases". Scientific Messenger of LNU of Veterinary Medicine and Biotechnologies 21, n.º 92 (11 de mayo de 2019): 165–68. http://dx.doi.org/10.32718/nvlvet-e9228.

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People lose hearing more often than we can imagine. Loss of hearing or deafness today is one of the most common occupational diseases not only in Ukraine but also in the world. Every day we are accompanied by a whole range of the most diverse sources of noise - household appliances at home and in the office, neighbors repairs, televisions, the road to work - metro, people in public transport or loud headphones music. And this can not be avoided, because each of us lives in a society, co-exists with other its representatives. All our life – a global communication. Many experiments found that noise is a general biologic stimulus and under certain conditions can affect all human life systems. The influence of noise on the human auditory organ is most fully studied. Intense noise, especially at high frequencies – 4000 Hz or more, with daily exposure leads to a professional illness – hearing loss, the symptom of which is the slow loss of hearing on both ears. According to official statistics of the World Health Organization, more than 5% of the Earth's population suffers from a disabling hearing loss. That is, such loss results not only in the deterioration of hearing quality, but also has certain social consequences, namely: more than 360 million people around the world have hearing problems (about 328 million adults and 32 million children); 1.1 billion teenagers and young people are at risk of hearing loss mainly due to listening to high-volume music as well as excessive noise levels; more than a third of people lose hearing as a result of excessive noise levels in the workplace. The rest is congenital deafness, loss of hearing due to various diseases and injuries; an average of almost ten years is passed before hearing impaired people turn to a doctor; studies have shown that about 1/3 of people over 65 years have hearing problems.
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Brown, Julie. "Ally McBeal's Postmodern Soundtrack". Journal of the Royal Musical Association 126, n.º 2 (2001): 275–303. http://dx.doi.org/10.1093/jrma/126.2.275.

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Television's Ally McBeal revels in soundtrack games, playing as it does with the conventions of several types of musical multimedia while elevating music, especially a particular type of pop music, to the role of central plot and series metaphor–above all in relation to Ally's character. As musically saturated television, Ally McBeal not only provides a window onto music's role in television (and hence a central expression of postmodern culture), it also engages some of pop music's broader social functions dramatically. Drawing on both film and media theory, I examine Ally McBeal's soundtrack from formal and dramatic perspectives. I then go on to situate the features discussed within wider postmodernist discourses and draw out music's contribution to the show's controversial representations of contemporary gender politics.
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Ward-Griffin, Danielle. "Realism Redux: Staging ‘Billy Budd’ in the Age of Television". Music and Letters 100, n.º 3 (1 de agosto de 2019): 447–80. http://dx.doi.org/10.1093/ml/gcz064.

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Abstract Although the term ‘realism’ is frequently deployed in discussing opera productions, its meanings are far from self-evident. Examining four stage and screen productions of Benjamin Britten’s Billy Budd (1951–66), this article traces how this mode was reworked through television in the mid-twentieth century. Linking theatrical and televisual developments in the UK and the USA, I demonstrate how television’s concerns for intimacy and immediacy guided both the 1951 premiere and the condensed 1952 NBC television version. I then show how challenges to the status quo, particularly the ‘angry young men’ of British theatre and the backlash against naturalism on television, spurred the development of a revamped ‘realistic’ style in the 1964 stage and 1966 BBC productions of Billy Budd. Beyond Billy Budd, this article explores how the meanings of realism changed during the 1950s and 1960s, and how they continue to influence our study of opera performance history.
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Citron, Marcia J. "Opera-Film as Television: Remediation in Tony Britten's Falstaff". Journal of the American Musicological Society 70, n.º 2 (2017): 475–522. http://dx.doi.org/10.1525/jams.2017.70.2.475.

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Tony Britten's film Falstaff (2008) is an unusual, even radical opera-film. An updated treatment with a colloquial English translation and a chamber arrangement, and lacking many operatic elements, the film enacts a remediation of opera-film through the medium of television. Remediation, as conceived by Jay Bolter and Richard Grusin, refers to “the representation of one medium in another,” and its goal “is to refashion or rehabilitate other media.” Britten's Falstaff is strongly influenced by British popular television, especially British situation comedy. Sitcoms that emphasize working-class culture and “lads’ humor”—such as Only Fools and Horses and Men Behaving Badly respectively—resonate conspicuously with this Falstaff. In addition, television features prominently in it by virtue of the fact that protagonist John Falstaff is a former television star. The implications of this remediated opera-film for Verdi and Boito's opera are also of considerable interest. In critical ways associated with music, text, and narrative, the opera is highly suited to Britten's conception. Building on the work of Denise Gallo, I propose that Britten's film marks another moment in the struggle for national ownership of the Merry Wives material. In this sense the film articulates an “Englishizing” of Verdi and Boito's opera. The new kind of opera-film represented by Britten's Falstaff reinforces the idea of “television opera” as a genre that takes advantage of television's medial and aesthetic capabilities, and expands its purview to adaptations as well as new operas.
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Martín-Jiménez, Virginia, Pablo Berdón-Prieto y Itziar Reguero-Sanz. "The precursors of infotainment? Debate and talk shows on Televisión Española (1980-1989)". Communication & Society 35, n.º 1 (10 de enero de 2022): 119–35. http://dx.doi.org/10.15581/003.35.1.119-135.

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The theory formulated to date indicates that political infotainment programs arrived in Spain in a widespread manner in the 1990s with the rise of private television channels. But were there spaces in public television that shared the traits of this novel television genre before that time? This article is aimed at analyzing debate and talk shows, as well as hybrid format shows combining both genres, broadcasted on Televisión Española (TVE-1 and TVE-2) during the ‘80s, in order to determine whether or not these programs present the emblematic style characteristic of infotainment. The methodology consists of a content analysis of a total of 31 television programs, each of which was viewed on the RTVE archive using different multimedia platforms. The results of this research reveal that Televisión Española incorporated into its debate shows, talk shows, and hybrid format shows, features typical of infotainment prior to the ‘90s. Among the most recurrent stylistic features of these programs are the tendency to dramatization, polemic and emotionality (achieved through different techniques and strategies), an increase of soft content, a greater presence of satire, humor and close-ups, and the use of music.
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Frith, Simon. "Look! Hear! The uneasy relationship of music and television". Popular Music 21, n.º 3 (octubre de 2002): 277–90. http://dx.doi.org/10.1017/s0261143002002180.

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Television is an essential part of the star-making machinery of the music business and music accompanies nearly all television programmes, and yet the relationship between the two is uneasy. Television does not seem to be an essential part of musical culture and adds little to music aesthetically. Music has had little impact on the form or aesthetics of television. And yet television has certainly had an impact on music and particularly on the mediation of rock and the formation of the modern pop/rock aesthetic. Here it is not music in television that is important but television in music. The 1950s was a significant turning point in popular music history not so much because of the musical revolution of rock ‘n’ roll but because of the impact of television.
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Graakjær, Nicolai Jørgensgaard. "Tv-reklamens musik i et tekstanalytisk perspektiv [The music of television commercials from a text analytical perspective]". MedieKultur: Journal of media and communication research 26, n.º 48 (17 de mayo de 2010): 23. http://dx.doi.org/10.7146/mediekultur.v26i48.2120.

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This article examines music in television commercials from a text analytical perspective. An analytical framework is presented involving three interrelated analytic levels: the text, the co-text and the con-text. The level of con-text is presented as a transtextual matter of the relationship between the music appearing in the television commercial and music from outside the commercial. The level of co-text is presented as an analytical issue regarding the relationship between the different textual elements of the television commercial – a primary level of audiovisual signification is identified. The level of text is presented as a matter of the specific structure of music in television commercials and a number of formats are described. Arguably these three interrelated analytical levels are pivotal for the textual analysis of music in television commercials. Each level is discussed and further developed into a number of analytical categories, and throughout, the analytical levels and categories are illustrated with references to recent television commercials broadcast in Denmark.
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Donnelly, K. J. "Tracking British television: pop music as stock soundtrack to the small screen". Popular Music 21, n.º 3 (octubre de 2002): 331–43. http://dx.doi.org/10.1017/s0261143002002210.

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Recent years have seen an increase in pop music on television, replacing its more traditional incidental music. It is now dominant as stock music on television, filling expanding continuity and advertising spaces. The licensing of pop music for screen use is increasingly important for the music industry, spawning a new form of ‘multipurpose music’ which, as well as being music in its own right, can also be resold as stock music for television. While in the 1980s there was a rush to tie-in pop music with films, in the 1990s, it increasingly was to tie pop music with television. This article documents and explores this transition.
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Tesis sobre el tema "Music televisions"

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Bochanty-Aguero, Erica Jean. "Music that moves television music, industrial travel, and consumer agency in contemporary media culture /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1851096631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Harwood, Julie D. "The construction of meaning in Hollywood and music video editing aesthetics, a comparison between the pre-television and music television generations". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0008/MQ52462.pdf.

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Maciel, Katia Augusta. "Film, popular music and television : intertextuality in Brazilian cinema". Thesis, University of Southampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494969.

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The thesis examines the effects of the cross-fertilisation between cinematic, musical and televisual texts on depictions of two emblematic Brazilian social space - the favela (shantytown) and the sertão (arid backlands) - in recently released independent and mainstream domestic productions. I argue that through processes of intertextuality recent Brazilian films have gradually transformed the favela into a widely exposed, lucrative but also productively challenging spectacle. Similarly, the iconicity of the sertão has been resignified allowing a new understanding of the region to emerge. My analysis of recent films set in either the favela or the sertão also proposes that different elements, such as traditional and modern, local and non-local cultural forms, are not simply blended into a single hybrid filmic text. As these elements coexist and traverse the cinematic landscape in the contemporary moment, I insist on the fact that the idea of national culture, in Brazil as well as elsewhere, must be considered in relation to ever-changing contexts rather than in relation to prescriptive ideologies. My research contributes to reassessing Brazilian cinema history by exploring key examples of the aesthetic, constitutional and cultural interaction between popular media in the country. The reassessment allows me to challenge established distinctions between art and popular cinema, to propose more productive ways of understanding how different media can support their mutual development, and to highlight the implications of intertextuality for new expressions of brazilidade (Brazilianness). The discussion is based on an intertextual analysis of four recent domestic films: Cidade de Deus (City of God, 2002), Lisbela e o prisioneiro (Lisbela and the Prisoner, 2003), O invasor (The Trespasser, 2001) and Baile perfumado (Perfumed Ball, 1997). I examine elements of the mise-en-scène (mainly set design and performance), editing and soundtrack to identify cross-media references.
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Farmer, Ajia. "Pop! Goes the music : a content analysis of popular music in prime-time television commercials". Thesis, Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/812.

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Tung, Yu-Ting. "Nodame Cantabile: A Japanese Television Drama and its Promotion of Western Art Music in Asia". Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1229915111.

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Andrésson, Charlotta. "Music Television : en TV-kanals förändring i ett nytt medieklimat". Thesis, Uppsala University, Media and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-106760.

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Purpose/Aim: The purpose of this essay is to analyze and discuss how MTV is affected by the development that takes place on the world’s media market. The aim is also to see how MTV’s target group’s image of the channel can give guidelines in how MTV should act in this new media era.

Material/method: I have examined the development on the media market and then created a model consisting of relevant factors that could affect a TV-channel today. Those factors and the two factors image and profile are then applied on MTV. I have done three interviews with people who work at MTV Networks Nordic and one interview with a person who used to work there. I also arranged three focus groups with members within the target group of MTV (15-24 year). The questions for all of the interviews were based on theories relevant to this study.

Main results: The results from the interviews and the focus groups showed that the profile and the image of MTV did not agree completely. An example of that is that the staffs of MTV saw the channel as a youth channel while the target group saw it as a music channel. MTV seems to go from being a niche channel to becoming a broader channel, a move that is quite unusual on today’s media market where niche marketing is the main strategy for TV-channels. People within the target group 15-24 uses the Internet more than TV an average day, and the younger members of my focus groups used the Internet more than the older ones. None of the members of the target group watched TV on their mobile phone but they assumed that younger kids would use it a lot in the future. All agreed upon that MTV was a suitable channel for mobile-TV.

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Hutchins, Christine Elizabeth. "Contextual Analysis of Meaning Through Adolescent Viewing of Music Television". The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392908720.

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Huisman, Rhonda. "Visual music : a study on the role of music in South African children’s television programmes from 1976 − 1994". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80289.

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Thesis (MDram)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: This study is aimed at providing useful insights into the field of audiovisual perception and understanding in South African children’s programmes, as well as demonstrating how the Congruence-Associationist framework can be of use when investigating these aspects. Music serves as an important element in children’s television programmes, as it is often used to subconsciously stimulate the viewers’ senses. The purpose of this study is to provide a more complete image of the role of music within the context of South African children’s television programmes from 1976 − 1994, using ethnographic research with a focus on case studies. In the first part of the study, a base is formed for analysing music by addressing general roles of music in audiovisual context, as well as children’s development of musical perception and a possible clarification of its origins. Its origins appear to be closely related to language and could explain why music fulfils such a significant role in a variety of interactive contexts. The Congruence-Associationist framework by Annabel Cohen is used as a suitable framework of analysis of music in children’s television by adapting and expanding it into three sections: the observation phase, the interpretation phase and the results phase. In the second part of the study, case studies and scene analyses of six selected children’s programmes are conducted, according to the three sections of the adapted framework of analysis. The findings indicate that music functions in multiple ways according to the focus of the programme, and that it fulfils an appealing and recognisable role in these programmes. It is argued that music serves to support the visuals on screen, influences the general interpretation of the viewer and ultimately provides understanding while facilitating learning. This information could be used in a variety of subjects, thus opening up endless possibilities for further research into the multiple roles of music.
AFRIKAANSE OPSOMMING: Hierdie studie is daarop gerig om nuttige insigte op die gebied van oudiovisuele persepsie en begrip in Suid-Afrikaanse kinderprogramme te verskaf, asook aan te toon hoe die ooreenstemmings-assosiatiewe raamwerk (Congruence-Associationist framework) van Annabel Cohen van nut kan wees wanneer hierdie aspekte ondersoek word. Musiek dien as ‘n belangrike element in die kindertelevisieprogramme, aangesien dit dikwels gebruik word om onbewustelik die sintuie van die betrokke kykers te stimuleer. Hierdie studie poog om ‘n meer volledige beeld van die rol van musiek te verskaf binne die konteks van Suid-Afrikaanse kindertelevisieprogramme vanaf 1976 − 1994. Dit word gedoen met behulp van etnografiese navorsing met ‘n fokus op gevallestudies. In die eerste deel van die studie word ‘n basis gevorm vir die analise van musiek, deur die algemene rol van musiek binne oudiovisuele konteks te bespreek, asook die ontwikkeling van kinders se musikale waarnemingsvermoë en ‘n moontlike verduideliking van die oorsprong van musiek. Die oorsprong van musiek blyk verwant te wees aan taal en kan moontlik die rede wees waarom musiek so ‘n belangrike rol in ‘n verskeidenheid interaktiewe kontekste speel. Die ooreenstemmings-assosiatiewe raamwerk word gebruik as ‘n geskikte raamwerk van ontleding vir musiek in kindertelevisie deur dit aan te pas en in drie afdelings uit te brei, naamlik die waarnemingsfase, die interpretasiefase en die resultaatfase. In die tweede deel van die studie word gevallestudies en toneelontledings van ses gekose kinderprogramme gedoen volgens die drie afdelings van die aangepaste ontledingsraamwerk. Die bevindinge dui daarop dat musiek op vele maniere funksioneer, afhangende van die fokus van die program, terwyl dit ook ‘n aantreklike en identifiseerbare rol in hierdie programme vervul. Daar word aangevoer dat musiek dien om die visuele beeld te ondersteun, die algemene interpretasie van die kyker te beïnvloed en uiteindelik begrip te verskaf terwyl die leerproses vergemaklik word. Hierdie inligting sou gebruik kon word in ‘n verskeidenheid onderwerpe wat weer eindelose moontlikhede vir verdere navorsing in die veelvuldige rolle van musiek blootlê.
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Creighton, Chie-wei Eve. "MTV Asia headquarters". Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951361.

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

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

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Giuffre, Liz y Philip Hayward, eds. Music in Comedy Television. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284.

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Inc, Music Business Registry, ed. Film & television music guide. 8a ed. Los Angeles: Music Business Registry Inc, 2003.

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Berry, John. Country Music (Television New Zealand). Auckland, N.Z: TVNZ Pub., 1986.

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Stannard, Adrian. Youth, music and television advertising. London: LCP, 2000.

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John, Williams, ed. Film and television music yearbook. Bridport, Dorset: Variations Publications, 1998.

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Grabowski, John. Television. Detroit: Lucent Books, 2011.

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Gelfand, Steve. Television theme recordings. [New York, N.Y.?]: Television Music Archives, 1985.

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Matlock, Mark. Wisdom on music, movies, and television. Grand Rapids MI: Zondervan, 2008.

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Deaville, James Andrew. Music in television: Channels of listening. New York: Routledge, 2011.

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Matlock, Mark. Wisdom on music, movies, and television. Grand Rapids MI: Zondervan, 2008.

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Capítulos de libros sobre el tema "Music televisions"

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Coates, Norma. "Television Music". En A Companion to the History of American Broadcasting, 321–45. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118646151.ch15.

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Giuffre, Liz. "Introduction". En Music in Comedy Television, 1–14. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-1.

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Spirou, Penny. "The Lonely Island’s “SNL Digital Short” as Music Video Parody". En Music in Comedy Television, 129–41. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-10.

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Driver, Emma y Sarah Attfield. "Sketching Out Portlandia’s Musical Layers". En Music in Comedy Television, 142–56. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-11.

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Beeler, Stan. "Inverting Expectations". En Music in Comedy Television, 157–69. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-12.

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Mills, Brett y Mark Rimmer. "Pure and Simple". En Music in Comedy Television, 170–85. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-13.

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Ostrofsky, Kathryn A. "Sesame Street as a Musical Comedy-Variety Show". En Music in Comedy Television, 15–30. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-2.

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Giuffre, Liz y Demetrius Romeo. "And Now for Something Completely Different (Sounding)". En Music in Comedy Television, 31–42. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-3.

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D’Adamo, Amedeo. "That Junky Funky Folk Vibe". En Music in Comedy Television, 43–58. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-4.

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Hayward, Philip y Matt Hill. "Once in a Lifetime". En Music in Comedy Television, 59–72. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-5.

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Actas de conferencias sobre el tema "Music televisions"

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Blythe, Mark. "Session details: Music, dance, and television". En CHI '14: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/3250947.

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

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Yong, Zhou. "Research on the Function of Film and Television Music in Music Appreciation Class". En 2017 7th International Conference on Social Network, Communication and Education (SNCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/snce-17.2017.154.

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Kim, Hyemi, Junghyun Kim, Jihyun Park y Wonyoung Yoo. "Representation Learning for Background Music Identification in Television Shows". En 2019 International Conference on Information and Communication Technology Convergence (ICTC). IEEE, 2019. http://dx.doi.org/10.1109/ictc46691.2019.8939934.

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Qiu, Fangya. "The Effective Application of Micro-lecture Mode in Vocal Music Teaching in Film and Television Performance". En Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.153.

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Evans, Jeff, Peter Neilson, Jordan Rath, John DeWitt, Peter Laz y Mohammad Mahoor. "Design of an Eye Tracking System Enabling Communication for TBI and SCI Patients". En ASME 2012 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/sbc2012-80214.

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Some patients who have suffered a traumatic brain injury (TBI) or a spinal cord injury (SCI) lose the ability to operate a computer via traditional methods (mouse and keyboard) or common alternative methods (voice control). The inability to move or speak makes it extremely difficult to communicate. Currently patients must rely on blinking yes or no to a series of questions that the caretaker asks in order to communicate their wants and needs. This system relies on the caretaker anticipating the patient’s needs in a timely manner which is not ideal. The purpose of this Senior Capstone Design project is to develop an eye tracking system to allow TBI and SCI patients to operate a computer exclusively using eye movements. Occupational Therapists at Craig Hospital, a recognized leader in TBI and SCI patient care, have provided the design team with access to a focus group of patients and insight into the needs and constraints of their patient population. With the ability to operate a computer, the patient will have the ability to more fully engage in communication by typing words on a screen for their caretakers to read and in a broader sense: e-mail and instant message family and friends as well as engage in social networking sites. The ability to control a computer allows for choices in entertainment from music to television to newspapers and magazines.
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Informes sobre el tema "Music televisions"

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

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

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This report examines the development of the media economy over the past thirty-five years. Since beginning this project a decade ago, we have focused on analyzing a comprehensive as possible selection of the biggest telecoms, Internet and media industries (based on revenue) in Canada, including: mobile wireless and wireline telecoms; Internet access; cable, satellite & IPTV; broadcast television, specialty and pay television services as well as Internet-based video subscription and download services; radio; newspapers; magazines; music; Internet advertising; social media; operating systems; browsers, etc.
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Kerrigan, Susan, Phillip McIntyre y Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan y Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, diciembre de 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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