Bibliographies thématiques / Nasti︠a︡ (Musical group)

Littérature scientifique sur le sujet « Nasti︠a︡ (Musical group) »

Auteur : Grafiati
Publié le 27 juillet 2024
Mis à jour le 29 juillet 2024

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Articles de revues sur le sujet "Nasti︠a︡ (Musical group)"

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Buchari, Juliza Hidayati et Ami Dilham. « Implementation of Spinning Machine Technology for Purun Rope and Business Management Development for the "Nasti Purun" Weaving Group in Serdang Bedagai ». ABDIMAS TALENTA : Jurnal Pengabdian Kepada Masyarakat 9, no 1 (18 février 2024) : 1–7. http://dx.doi.org/10.32734/abdimastalenta.v9i1.14582.

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Community Service Activities for the Purun Weaving Group aim to enhance the quality of products and marketing for the "Nasti Purun" Purun Weaving Group in the Cinta Air Village, Perbaungan District, Serdang Bedagai Regency, as well as support the government's enterprise development program. Several production technologies within the "Nasti Purun" Purun Weaving Group in Serdang Bedagai are currently conducted manually, particularly the process of making Purun rope bags. The spinning of Purun rope still involves the use of hands and feet, causing discomfort, fatigue, and even injury to the workers' hands and feet. The "Nasti Purun" Purun Weaving Group in Serdang Bedagai is in dire need of a Purun rope spinning machine. The specific objective of this activity is the acquisition of a Purun rope spinning machine and providing appropriate marketing methods along with basic accounting. The implementation method is carried out comprehensively, beginning with the application of Purun rope spinning technology and proper business management development, expanding the market area using online marketing (digital marketing) as an effort towards achieving one of the SDGs objectives, Decent Work and Economic Growth. This aims to enhance inclusive and sustainable economic growth, as well as decent work for all. These activities can have a positive impact not only on the target community but also on the university.
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Deutsch, Ralph. « Note group selectable musical effects in an electronic musical instrument ». Journal of the Acoustical Society of America 78, no 4 (octobre 1985) : 1455. http://dx.doi.org/10.1121/1.392817.

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Bispham, John C. « Music's “design features” : Musical motivation, musical pulse, and musical pitch ». Musicae Scientiae 13, no 2_suppl (septembre 2009) : 41–61. http://dx.doi.org/10.1177/1029864909013002041.

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This paper focuses on the question of what music is, attempting to describe those features of music that generically distinguish it from other forms of animal and human communication — music's “design features”. The author suggests that music is generically inspired by musical motivation — an intrinsic motivation to share convergent intersubjective endstates - and is universally identifiable by the presence of musical pulse — a maintained and volitionally controlled attentional pulse — and/or musical pitch — a system for maintaining certain relationships between pitches. As such music's design features are viewed as providing an interpersonal framework for synchronous and group affective interaction. The implications of this approach to an evolutionary perspective on music and on arguments of the primary evolutionary functionality of musical abilities in human evolution are discussed.
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Sawyer, R. Keith. « Group creativity : musical performance and collaboration ». Psychology of Music 34, no 2 (avril 2006) : 148–65. http://dx.doi.org/10.1177/0305735606061850.

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Bishop, Laura. « Togetherness in musical interaction ». Routledge Open Research 3 (8 mars 2024) : 16. http://dx.doi.org/10.12688/routledgeopenres.18202.1.

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Playing music as part of a group is challenging, but also rewarding. What factors come together to maximize rewarding group playing experiences? How do feelings of enjoyment, frustration, and social (dis)connection shape group performance as it unfolds? This paper addresses these questions with a discussion of the conditions and processes that underlie rewarding experiences in musical interaction. The concept of musical togetherness is introduced, and defined as the feelings of social connection and pleasure that result from being and acting as part of a group during musical interaction. It is argued that three conditions must be fulfilled for togetherness experiences to occur. First, participants in an interactive setting must be aware of one another as intentional co-performers capable of exchanging expressive ideas. Second, interaction must unfold reliably in real-time, allowing for a mutual perception of liveness. Third, participants must adapt and build off of one another in a way that allows for mutual perception of responsivity. Whether these conditions are met is codetermined by the constraints of the environment in which the interaction takes place and the skills and communication techniques that interaction participants are able to deploy. Togetherness experiences are further supported by alignment between group members in body rhythms and a sense of we-agency, or the feeling of shared contribution to the collective musical output. The social and emotional rewards that are associated with musical togetherness are strengthened through a shared positive emotional response to successful interaction. Musical togetherness is hypothesized to contribute to shaping group performance in real-time by motivating group members to interact in ways that lead them to feel more together. This framework provides structure for a construct that has been used casually in the music psychology literature, has implications for how the performance behaviour of ensemble musicians is understood.
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Elliott, David. « Assessing Musical Performance ». British Journal of Music Education 4, no 2 (juillet 1987) : 157–84. http://dx.doi.org/10.1017/s026505170000591x.

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The arts pose some particular problems in the field of assessment. In the study reported here, we examined some of the problems performance presents to assessors especially in the context of the GCSE examination, and with reference to the model for assessment given in the APU Report on Aesthetic Development.A small-scale experiment was devised with the aim of investigating the reliability and different perceptions of judges of musical performances. As well as assessment by professional musicians, we investigated self assessment and assessment by peer-group members. There was a generally high measure of agreement between judges, both in terms of their individual comments and the rank order they each devised. This suggests that there were some objective criteria at work in their assessments. Self-assessments proved very realistic, although those of the peer-group were slightly less so.
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Towse, Esme. « Group Analysis and Improvisation : A Musical Perspective ». British Journal of Music Therapy 11, no 2 (décembre 1997) : 51–55. http://dx.doi.org/10.1177/135945759701100204.

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The writings of S. H. Foulkes, founder of group analysis, abound with musical imagery. This paper describes how musical experience has contributed to the author's understanding of aspects of group analytic theory and practice, and is an attempt to put some of that understanding back into the development of a model of group music therapy.
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Burland, Karen, et Jane W. Davidson. « Investigating Social Processes in Group Musical Composition ». Research Studies in Music Education 16, no 1 (juin 2001) : 46–56. http://dx.doi.org/10.1177/1321103x010160010901.

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Sastra, Andar Indra. « THE GROUP CONCEPT OF BUILDING RASO BATALUN IN THE PERFORMANCE OF TALEMPONG RENJEANG ANAM SALABUHAN ». Jurnal Humaniora 27, no 1 (3 juin 2015) : 42. http://dx.doi.org/10.22146/jh.v27i1.6408.

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The goal of this article is to discuss talempong renjeang anam salabuhan as a cultural artefact, in particular focusing on the group concept of building raso batalun in the performance of talempong renjeang anam salabuhan in Luhak Nan Tigo, Minangkabau. Raso batalun in the performance of talempong is the musical expression created by the talempong player through the rhythmic treatment of the talempong. The expression produced in a talempong performance can be understood to reflect the musical ability of the talempong group in its performance of various types of Guguah talempong. A group is the representation of a social concept in Minangkabau society. Some talempong groups are formed on the basis of common goals and interests without any family connections; other groups are formed through family ties; and others are formed based on genealogical connections. A musical unit is built through musical communication between the talempong players through different rhythmic patterns. This musical communication can be achieved when the players in the group have the same level of perception, ability, and sense of musicality. It is this perception and sense of musicality which are the initial foundations on which a talempong performance is built, in accordance with the musical standard of each group. It is believed that a high musical standard will not be reached if the role of a particular player is taken over by another player from outside the group. The group plays an important role in building a musical unit and a musical standard in order to achieve raso batalun.
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Duishenaliev, Jumabek. « EVOLUTION OF GROUP SINGING IN KYRGYZ MUSICAL FOLKLORE AT THE END OF THE XIX CENTURY ». Alatoo Academic Studies 20, no 2 (30 juin 2020) : 223–28. http://dx.doi.org/10.17015/aas.2020.202.26.

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The article considers the evolution of group singing in the Kyrgyz musical folklore at the end of the XIX century, recorded in the musical texts of the Kyrgyz musical folklore, from the point of view of their ethno-musical and musical-factual analysis. It was clarified that the genre of working and revolutionary songs in Kyrgyzstan was formed in the pre-revolutionary period and has undergone changes in the functions of the group singing environment. Instead of ritual and lyrical songs that raise acute social themes, urban songs of protest content began to appear. Special attention is paid to the evolution of group singing in Kyrgyz folklore.
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Thèses sur le sujet "Nasti︠a︡ (Musical group)"

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Rabinowitch, Tal-Chen. « Musical group interaction : mechanisms and effects ». Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648235.

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Waugh, Deborah. « Nexus : integrating musical traditions / ». Thesis, View the Table of Contents & ; Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B37120335.

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Feldmeier, Mark Christopher 1974. « Large group musical interaction using disposable wireless motion sensors ». Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/33547.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.
Includes bibliographical references (p. 113-114).
One of the difficulties in interactive music and entertainment is creating environments that reflect and react to the collective activity of groups with tens, hundreds, or even thousands of participants. Generating content on this scale involves many challenges. For example, how is the individual granted low latency control and a sense of causality, while still allowing for information retrieval from all participants so that the environment responds to the behavior of the entire group? These issues are particularly pertinent in the area of interactive dance. To address these issues, a low-cost, wireless motion sensor has been developed. The sensor is inexpensive enough to be considered disposable, allowing it to be given away to participants at large dance events, enabling the dancers to participate concurrently in a realtime, interactive musical performance. The sensors are either worn or held by participants and transmit a short RF pulse when accelerated past a certain threshold. The RF pulses are received by a base station and analyzed to detect rhythmic features and estimate the general activity level of the group. These data are then used to generate music that can either lead or follow the participants' actions, thereby tightening the feedback loop between music and dancer. Multiple tests of the system have been conducted, with groups ranging from fifteen to 200 participants. Results of these tests show the viability of the sensors as a large group interaction tool. Participants found the interface intuitive to use, effectively controlling such aspects of the music as style, tempo, voicing, and filter parameters. These tests also demonstrate the system's ability to detect both the activity level and dominant tempo of the participants' motions, and give considerable insight into methods of mapping these data to musical parameters that give participants direct feedback as to their current state. Furthermore, it is shown that participants, if given this direct feedback, will synchronize their actions and increase in activity level, creating a mutually coherent and pleasing outcome.
by Mark Christopher Feldmeier.
S.M.
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Hsieh, Su-Ching. « Cognition and musical improvisation in individual and group contexts ». Thesis, University College London (University of London), 2009. http://discovery.ucl.ac.uk/10019875/.

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The aims of this research are to investigate how improvisatory skills develop in individuals and teams. It focuses upon the effect of musical expertise in different musical genres on the development of improvisatory skills. Multi methods were applied in the research and classified into four phases. The first phase involved a self-case study implementing deliberate self regulated practice based on a planned sequential model; a) sight-reading; b) memorising; and c) improvising; over 8 weeks in a trained classical musician. Additionally, the self-case study used two commissioned musical compositions matched in length, harmony and structure, one in the classical genre the other in jazz. In the 2nd phase, semi-structured interviews were conducted with novice and expert improvisers. The final phases included experiments studying sightreading, memorising and improvising as a duo and observations and interviews relating to ensemble rehearsals and improvisation with cross genre compositions. The findings suggest that learning to improvise is frustrating and anxiety provoking. Seven elements were found to be important in acquiring musical skills and domain knowledge acquisition: physiological adaptation and developing reading music skills; establishing auditory schemata; automaticity; use of memorisation strategies; analytic strategy application; and improvising to a coherent musical structure. The findings also show that sight-reading and improvising share similarities in their characteristics when learning to improvise as a duo. Issues such as communicating to the audience, performance identity and connecting to the context are essential in the duo improvisation performance. The findings indicate that a 'concept of break-points' (Poole, 1983) take place during the latter stage of the ensemble improvisation process where changes occur across all three elements, musical structure, social structure and communicative behavior. (Bastien and Hostager, 2002:21) Factors such as leadership, group member characteristic, resource, information flow, the creative environment and collateral structure can influence the quality of group improvisation performance.
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Suner, Sedef. « Preschool Children As A User Group : Design Considerations For Musical Toys ». Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614074/index.pdf.

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Early musical experiences are very important for social, cognitive and physical development of children, as well as their future musical competences. Preschools present this environment with various musical materials. However, suitability of these materials in terms of developmental needs of children and educational goals is questionable. The purpose of this study is to transfer knowledge from relevant literature to design considerations of musical toys for preschool children. Literature review was conducted to determine various aspects to be considered while designing musical toys by compiling knowledge from developmental psychology and pedagogy literature
governments
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Weinberg, Gil 1967. « Interconnected musical networks : bringing expression and thoughtfulness to collaborative group playing ». Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/28287.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.
Includes bibliographical references (p. 211-219).
(cont.) In order to addressee the latter challenge I have decided to employ the digital network--a promising candidate for bringing a unique added value to the musical experience of collaborative group playing. I have chosen to address both challenges by embedding cognitive and educational concepts in newly designed interconnect instruments and applications, which led to the development of a number of such Interconnected Musical Networks (IMNs)--live performance systems that allow players to influence, share, and shape each other's music in real-time. In my thesis I discuss the concepts, motivations, and aesthetics of IMNs and review a number of historical and current technological landmarks that led the way to the development of the field. I then suggest a comprehensive theoretical framework for artistic interdependency, based on which I developed a set of instruments and activities in an effort to turn IMNs into an expressive and intuitive art form that provides meaningful learning experiences, engaging collaborative interactions, and worthy music.
Music today is more ubiquitous, accessible, and democratized than ever. Thanks to technologies such as high-end home studios, audio compression, and digital distribution, music now surrounds us in everyday life, almost every piece of music is a few minutes of download away, and almost any western musician, novice or expert, can compose, perform and distribute their music directly to their listeners from their home studios. But at the same time these technologies lead to some concerning social effects on the culture of consuming and creating music. Although music is available for more people, in more locations, and for longer periods of time, most listeners experience it in an incidental, unengaged, or utilitarian manner. On the creation side, home studios promote private and isolated practice of music making where hardly any musical instruments or even musicians are needed, and where the value of live group interaction is marginal. My thesis work attempts to use technology to address these same concerning effects that it had created by developing tools and applications that would address two main challenges: 1. Facilitating engaged and thoughtful as well as intuitive and expressive musical experiences for novices and children 2. Enhancing the inherent social attributes of music making by connecting to and intensifying the roots of music as a collaborative socialritual. My approach for addressing the first challenge is to study and model music cognition and education theories and to design algorithms that would bridge between the thoughtful and the expressive, allowing novices and children an access to meaningful and engaging musical experiences.
by Gil Weinberg.
Ph.D.
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Martins, Áudrea da Costa. « Linhas, vozes e tracks : a textura na composição musical de crianças ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/36016.

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Esta pesquisa aborda a composição musical coletiva, acústica e eletrônica, de estudantes de música com idades entre 10 e 12 anos. Tem como objetivo analisar as diversas manifestações envolvendo a textura musical, destacando o modo como se vinculam à noção de tempo e aos processos de inferência que subsidiam a atividade da criação musical. Os sujeitos são 16 alunos regulares de duas escolas públicas, que frequentaram oficinas de composição ministradas pela pesquisadora. A concepção do estudo situa a pesquisa na área da Epistemologia Genética de Jean Piaget, cujo corpo teórico dá sustentação à investigação na área da Educação Musical. Os dados foram coletados no período de novembro de 2010 a abril de 2011, mediante a inserção da pesquisadora no ambiente de trabalho, onde observou e realizou entrevistas com base no referencial teórico adotado. A tomada de decisões durante o processo composicional encontra apoio nas inferências e nas noções de sucessão, duração e simultaneidade, inerentes à noção de tempo. Apesar das diferenças no que diz respeito à abordagem composicional e nos resultados sonoros dos produtos musicais, as manifestações texturais presentes nas peças acústicas e eletrônicas apresentam similaridades em muitos aspectos. A textura musical, importante dimensão estrutural da música, é parâmetro fundamental no exercício da composição musical, oferecendo ampla margem para experimentação e expressão criativa de seus autores. Sendo assim, este trabalho poderá suscitar novas abordagens frente à prática composicional em grupo na sala aula, contribuindo para uma melhor compreensão da produção musical dos estudantes.
The present research is an approach to acoustic and electronic collective musical composition by music students aged between 10 and 12. It aims to analyze the several demonstrations which involve musical texture, pointing out the way those are attached to the conception of time and the processes of inference which grant musical creation activity. The subject-matter is composed by 16 regular students from public schools who attended workshop on composition guided by the researcher. The conception of such study places the research in the area of Jean Piaget´s Genetic Epistemology whose theoretical body gives support to investigation in Musical Education area. The data have been collected during the period of November 2010 to April 2011 in the researcher´s work environment in which she performed interviews based on the adopted theoretical reference. The decision-making during the compositional process meets support in the inferences and in the concepts of sequence, length and simultaneousness which are inherent in time concept. In spite of the differences as to the compositional approach and the sound results of the musical products, the textural manifestation in the acoustic and electronic pieces proved to be similar in many aspects. The musical texture, important structural dimension in music, is a fundamental parameter in the exercise of composition. It offers a wide rank for the experimenting and creating expression of its authors. So, this work can bring new approaches in the compositional practice in group in the classroom which will provide a better comprehension in the student’s musical production.
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Martin, Christopher Alan. « ‘We Feed Off Each Other’ : Embodiment, Phenomenology and Listener Receptivity of Nirvana’s In Utero ». Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143406900.

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Wallace, Matthew R. « Holding back the flood Thom Yorke, Radiohead, and post-industrial capitalism / ». [Denver, Colo.] : Regis University, 2006. http://165.236.235.140/lib/MWallace2007.pdf.

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Senior Honors Thesis--Regis University, Denver, Colo., 2007.
"May 2006." Date of submission on Certificate of Authorship: 30 April 2007. Title from PDF title page (viewed June 26, 2007). Includes bibliographical references.
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Beegle, Amy C. « Children at work in their musical expression : a classroom-based study of small group improvisation / ». Thesis, Connect to this title online ; UW restricted, 2006. http://hdl.handle.net/1773/11204.

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Livres sur le sujet "Nasti︠a︡ (Musical group)"

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Janet, Mills. Group tests of musical abilities : Teacher's guide. Windsor : NFER-Nelson, 1988.

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Ezequiel, Sánchez Jorge, dir. Sumo. Buenos Aires : Clarín, 2008.

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Ezequiel, Sánchez Jorge, dir. Babasonicos. Buenos Aires, Argentina : Clarín, 2007.

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Ezequiel, Sánchez Jorge, dir. Luis Alberto Spinetta. Buenos Aires : Clarín, 2007.

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Ezequiel, Sánchez Jorge, dir. Soda Stéreo. Buenos Aires, Argentina : Clarín, 2008.

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Ezequiel, Sánchez Jorge, dir. Los Fabulosos Cadillacs. Buenos Aires : Clarín, 2008.

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Ezequiel, Sánchez Jorge, dir. León Gieco. Buenos Aires, Argentina : Clarín, 2008.

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Ezequiel, Sánchez Jorge, dir. Tanguito. [Argentina] : Clarín, 2008.

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Ezequiel, Sánchez Jorge, dir. Attaque 77. Buenos Aires, Argentina : Clarín, 2008.

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Ezequiel, Sánchez Jorge, dir. Ratones paranoicos. Buenos Aires : Clarín, 2007.

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Chapitres de livres sur le sujet "Nasti︠a︡ (Musical group)"

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Nedela, Mary R. « Musical Emotions ». Dans The Group Therapist's Notebook, 73–81. 2nd edition. | New York : Routledge, 2017. : Routledge, 2017. http://dx.doi.org/10.4324/9781315457055-12.

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Odena, Oscar. « Developing secondary students’ creativity through guided group composition and performance ». Dans Musical Creativity Revisited, 47–64. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series : SEMPRE studies in the psychology of music : Routledge, 2018. http://dx.doi.org/10.4324/9781315464619-4.

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Cartwright, Phillip, et Kadeshah Swearing. « Group Work : Application and Performance Effectiveness in Musical Ensembles ». Dans New Leadership in Strategy and Communication, 329–50. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19681-3_20.

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Sheppard, Eileen. « A Musical Instrument Making Group and Their Altered States ». Dans Mild Altered States of Consciousness, 213–24. Cham : Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-53452-2_11.

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Stephens-Himonides, Cynthia, Margaret Young et Melanie Bowes. « Innovation and Leadership in Group Teaching Across the Lifespan ». Dans The Routledge Companion to Women and Musical Leadership, 309–20. New York : Routledge, 2024. http://dx.doi.org/10.4324/9781003024767-27.

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Diment, Aleksandr, Padmanabhan Rajan, Toni Heittola et Tuomas Virtanen. « Group Delay Function from All-Pole Models for Musical Instrument Recognition ». Dans Lecture Notes in Computer Science, 606–18. Cham : Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-12976-1_37.

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Thomas, Kyle A. « Laying Down the RUG : Andrew Lloyd Webber, the Really Useful Group, and Musical Theatre in a Global Economy ». Dans The Palgrave Handbook of Musical Theatre Producers, 325–32. New York : Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43308-4_32.

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Schiavio, Andrea, Henrique Meissner et Renee Timmers. « 8. Influences of Physical and Imagined Others in Music Students’ Experiences of Practice and Performance ». Dans Psychological Perspectives on Musical Experiences and Skills, 165–88. Cambridge, UK : Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0389.08.

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Musical tasks are commonly undertaken either individually or within a group setting, often with the additional presence of an audience. While these scenarios entail distinct social contexts, our study delves into crossovers: we explore how the social dimension permeates individual contexts and, conversely, how individual experiences are woven into social settings. To do so, we asked music higher education students based in the Netherlands and the United Kingdom to reflect on their felt experiences of others who may be imagined or physically present during individual and group practice or performance. Qualitative findings highlight the role of perspective-taking and attentional focus, the experienced differences between in-person communication and imagined intersubjectivity, the role of trust and opportunity for creative freedom, and the strongly valenced implications of the perspectives on self and others. These themes are seen as opening avenues for further investigation with relevance to music education to explicitly consider how students experience and think about others.
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Borgo, David. « Sync or Swarm : Musical Improvisation and the Complex Dynamics of Group Creativity ». Dans Algebra, Meaning, and Computation, 1–24. Berlin, Heidelberg : Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11780274_1.

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Savery, Richard, Amit Rogel et Gil Weinberg. « Augmenting a Group of Task-Driven Robotic Arms with Emotional Musical Prosody ». Dans Sound and Robotics, 219–40. Boca Raton : Chapman and Hall/CRC, 2023. http://dx.doi.org/10.1201/9781003320470-11.

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Actes de conférences sur le sujet "Nasti︠a︡ (Musical group)"

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Gorodscy, Fábio, Guilherme Feulo, Nicolas Figueiredo, Paulo Vitor Itaboraí, Roberto Bodo, Rodrigo Borges et Shayenne Moura. « Computer Music Research Group - IME/USP Report for SBCM 2019 ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10443.

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The following report presents some of the ongoing projects that are taking place in the group’s laboratory. One of the noteable characteristics of this group is the extensive research spectrum, the plurality of research areas that are being studied by it’s members, such as Music Information Retrieval, Signal Processing and New Interfaces for Musical Expression.
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Calegario, Filipe, Giordano Cabral et Geber Ramalho. « MusTIC : Research and Innovation Group on Music, Technology, Interactivity and Creativity ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10441.

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MusTIC is a research and innovation group concerned in conceiving and developing products and experiences that have an impact on music, education, visual and performing arts, and entertainment. In particular, we have been working with tools, methods, and concepts from physical computing, interaction design, and signal processing to build new interfaces for artistic expression, to develop tools for rapid prototyping, and to improve education through robotics and gamification.
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Pimenta, Marcelo, Rodrigo Schramm et Marcelo Johann. « LCM-Ufrgs Research Group Report : What are we doing in Computer Music ? » Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10442.

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Fontes, Flaviano Dias, Giordano Ribeiro Eulalio Cabral et Geber Lisboa Ramalho. « An open source platform to assist the creation of group playlists through artificial intelligence algorithms ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19442.

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Recommendation systems are a constantly expanding study area, with applications in various fields such as e-commerce, films, music to promote the user’s suggestions. When we talk about music, we have more than 20 years of studies trying to solve the problem of a good generation of playlists that maximizes the satisfaction of a larger number of listeners. For automated automatic playlist generation methods focusing on a user group, we have the collaborative filter as a more assertive method to get the user’s not likely, to improve the performance of group recommendation algorithms we store the preferences of users Especially I did not like it by placing the availability of using this data as an algorithm input parameter. The platform described in This paper is intended to facilitate testing between these recommendation systems, standardizing data entry, and facilitating requests. The use of GraphQL as a framework associated with Apollo as a library, greatly facilitates the integration of these APIs, as the separation of data sources makes it possible to associate Spotify data with Deezer or Apple Music data, these data are stored in the database of the connection, so that in future requests it will no longer be necessary to consult the Spotify API, thus facilitating the consumption of data from the artificial intelligence algorithms, as well as a possible sharing of songs between services, since all services have an ISRC code to identify the songs.
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Yadegari, Shahrokh, John Burnett, Eito Murakami, Louis Pisha, Francesca Talenti, Juliette Regimbal et Yongjae Yoo. « Becoming : An Interactive Musical Journey in VR ». Dans SIGGRAPH '22 : Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA : ACM, 2022. http://dx.doi.org/10.1145/3532834.3536209.

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Kyogu Lee et Minsu Cho. « Mood Classfication from Musical Audio Using User Group-Dependent Models ». Dans 2011 Tenth International Conference on Machine Learning and Applications (ICMLA 2011). IEEE, 2011. http://dx.doi.org/10.1109/icmla.2011.96.

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Kim, Jaehun, Minz Won, Xavier Serra et Cynthia C. S. Liem. « Transfer Learning of Artist Group Factors to Musical Genre Classification ». Dans Companion of the The Web Conference 2018. New York, New York, USA : ACM Press, 2018. http://dx.doi.org/10.1145/3184558.3191823.

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Jones, Dympna, Kate Marley, Clare Forshaw, Kate McIntegart, Helen Cunliffe et Susan Clarkson. « P-140 Musical chairs – more than just an exercise group ». Dans Leading, Learning and Innovating, Hospice UK 2017 National Conference, 22–24 November 2017, Liverpool. British Medical Journal Publishing Group, 2017. http://dx.doi.org/10.1136/bmjspcare-2017-hospice.165.

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Žitkevičienė, Daiva, et Jolanta Lasauskienė. « The Method of Involving Young Children in Group Musical Activities ». Dans 81th International Scientific Conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/htqe.2023.21.

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The possibilities and specific features of enhancing the efficiency of the educational interaction that penetrates the whole educational process by involving children in active musical activities as early as possible have been poorly explored in Lithuania so far. The aim of the research is to highlight educational preconditions of involving 3–4-year-old children in group musical activities by implementation Batia Strauss’s Method of Active Listening to Music in practice with a group of children in early childhood music education. The participants included fifteen children from a kindergarten in Kaunas district (Lithuania). The conducted qualitative case research help to distinguish the following educational preconditions of involving 3–4-year-old children in group musical activities using Strauss’s Method of Active Listening to Music: to feel and express contrasting rhythms through simulated, emotional body movements while listening to music; to conceive and demonstrate spontaneous body movements while listening to music; and to listen to music and express it through artistic expression and language. The aforesaid preconditions are considered as generalised and conceptualised research findings and enrich the didactics of early childhood music education based on reflective thinking, mediation, meta-comments and co-learning principles.
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Fels, Sidney, et Michael Lyons. « How to design and build new musical interfaces ». Dans SIGGRAPH '15 : Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA : ACM, 2015. http://dx.doi.org/10.1145/2776880.2792703.

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Rapports d'organisations sur le sujet "Nasti︠a︡ (Musical group)"

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Zuo, Lingyan, Fengting Zhu, Rui Wang, Hongyan Shuai et Xin Yu. Music intervention affects the quality of life on Alzheimer’s disease : a meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, décembre 2021. http://dx.doi.org/10.37766/inplasy2021.12.0055.

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Review question / Objective: Inclusion criteria: population: 1) A randomized controlled study on the impact of music intervention on the QOL of patients with AD; 2) The participants in this study is patients with AD; 3) There is no significant difference among age, gender and education background in sorted groups before analysis which make these groups comparable; intervention: 1)Intervention Modality Music-based intervention; comparison: 1) All data were sorted into two groups: the music intervention group and the control group without any music intervention; outcome: 1) The indicators evaluated in the literature included the score of QOL-AD or WHOQOL-BERF scale, at least one of the two scales summarized in selected publications; language: 1) Only articles published in English and Chinese were considered. Exclusion criteria: 1) The participants were not diagnosed with AD; 2) Non-musical intervention;3) Non-RCTs; 4) No specific values for outcome variables; 5) Articles lacking original data; 6) Repeat published reports; 7) Full text could not be obtained.
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, août 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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