Bibliografie tematiche / Humanities -> music -> techniques

Letteratura scientifica selezionata sul tema "Humanities -> music -> techniques"

Autore: Grafiati

Pubblicato: 26 luglio 2024

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Articoli di riviste sul tema "Humanities -> music -> techniques"

Comber, Chris, David J. Hargreaves e Ann Colley. "Girls, Boys and Technology in Music Education". British Journal of Music Education 10, n. 2 (luglio 1993): 123–34. http://dx.doi.org/10.1017/s0265051700001583.

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Information technology is having a profound impact upon the music curriculum, and there is general agreement that boys and girls should have equal opportunities to benefit from it. Although music has traditionally been a subject in which girls predominate, technology is clearly stereotyped as a male preserve. The present paper reports some findings from the Leverhulme Trust-funded ‘Gender and educational computing in the humanities’ project at the University of Leicester, which is using survey and interview techniques with a large sample of pupils and teachers in the Midlands to investigate these questions. The preliminary results suggest that boys are more confident in their use of music technology; that they are showing an increasing interest in music as a result of it; and that teachers have a crucial role to play in ensuring that girls are not disadvantaged in the use of music technology.

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Ehmann, Andreas F., e J. Stephen Downie. "Music to knowledge: A visual programming environment for the development and evaluation of music information retrieval techniques". Journal of the Acoustical Society of America 118, n. 3 (settembre 2005): 2031. http://dx.doi.org/10.1121/1.4785794.

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Smith, Julius O. "Signal processing techniques in music synthesis based on a physical model." Journal of the Acoustical Society of America 90, n. 4 (ottobre 1991): 2336. http://dx.doi.org/10.1121/1.402205.

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Mills, John A. "The application of cochlear audio analysis techniques to electro‐acoustic music". Journal of the Acoustical Society of America 115, n. 5 (maggio 2004): 2450. http://dx.doi.org/10.1121/1.4782231.

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Mills, John. "Application of cochlear analysis techniques to percussion in electro‐acoustic music". Journal of the Acoustical Society of America 117, n. 4 (aprile 2005): 2477. http://dx.doi.org/10.1121/1.4787600.

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Piryazeva, Elena Nikolaevna. "Digital music art through the prism of interdisciplinarity". Философия и культура, n. 12 (dicembre 2020): 25–39. http://dx.doi.org/10.7256/2454-0757.2020.12.34491.

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  The processes taking place in modern science tend to integrate various scientific disciplines in studying any scientific phenomenon. This explains the search of methodology based on the techniques of different sciences involved in formation of the subject of research, which in this article is represented by the digital music art. Interpreted as a branch of music art with digital specificity, digital music art incorporates electronic music presented by specific, algorithmic, and electronic music. A signature characteristic of digital music art consists in its interdisciplinarity, which suggests the combined effect of separate parts of the system and leads to self-organization, which corresponds with the scientific tasks of synergetics. This substantiates the relevance for elaboration of interdisciplinary methodology for studying digital music art in the context of research mechanisms developed within synergetics. The scientific lies in the analysis of digital art through the prism of the qualities inherent to synergetics. The disciplines united by digital art (mathematics, set theory, probability theory, information theory, combinatorics, game theory, cybernetics, computer science, acoustics, sociology, communication, and biology) are interdisciplinary, which means that in ensemble with other disciplines they form a complex interdisciplinary knowledge of structure of digital music art. At the same time, the disciplines that comprise scientific framework of digital music art are attributed to different sciences: humanities, natural sciences, mathematics, social sciences, and technical sciences. In this context, the research of digital music art is simultaneously of interdisciplinary and multiscientific nature. The author established a peculiar impact of interdisciplinarity upon digital art, which generates the qualities inherent to synergetics – nonlinearity, disequilibrium, openness, chaotic nature, entropy, indeterminacy, and dissipation.  

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Weymann, Eckhard. "Improvisation as “unthought known”: creative techniques in music therapy supervision". Nordic Journal of Music Therapy 25, sup1 (30 maggio 2016): 114–15. http://dx.doi.org/10.1080/08098131.2016.1180133.

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Kvistad, Garry M. "Rhythmic techniques and psychoacoustic effects of the percussion music of Steve Reich". Journal of the Acoustical Society of America 134, n. 5 (novembre 2013): 4187. http://dx.doi.org/10.1121/1.4831357.

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Anderson Mills, John. "Application of cochlear analysis techniques to finding percussive events in electro‐acoustic music". Journal of the Acoustical Society of America 121, n. 5 (maggio 2007): 3061. http://dx.doi.org/10.1121/1.4781825.

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Mills, Anderson. "Application of cochlear analysis techniques to finding percussive events in electro‐acoustic music". Journal of the Acoustical Society of America 119, n. 5 (maggio 2006): 3440. http://dx.doi.org/10.1121/1.4786932.

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Tesi sul tema "Humanities -> music -> techniques"

Clemen, Hannah E. "The use of principles and techniques derived from meditation for the design and creation of co-participatory musical systems". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/644.

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For this thesis, a detailed study was undertaken to determine whether techniques derived from traditional meditation systems can be applied to "co-participatory" music systems in order to enhance their accessibility, interactivity, and experiential impact, In order to adequately address this subject, a number of investigative steps have been taken. First, a workable list of definitions for what meditation actually is was made by comparing the practices and philosophies of a number of traditional meditation forms. The conclusions derived from this stage of the discussion served to create a definitive "blueprint" for meditation and served as a theoretical foundation for the rest of the dissertation. The second stage was to see how these definitions manifest in the meditation form; of the modem world. This approach provided insight into how changed cultural perspectives exert a major influence on the effectiveness andlor appropriateness of certain traditional techniques. In addition to modern meditation practices, the definitions from chapter two were also examined from the perspective of modem science, another important aspect of modern culture. The observations from this chapter served as the basis for chapter four, in which the experiential, symbolic and conventional features of Western Art Music were examined. This was to provide some points of reference with which to consider the possibility of using meditation techniques to enhance the "musical experience". In chapter five, an examination was made of a number of composers and artists and their relevant works who have devised methods by which some of the more "restrictive" aspects of West em Art Music can be overcome or bypassed, so as to gain access to the full potential of that "musical experience". This stage of the discussion provided a practical framework with which to discuss the background, design and realization of my own wod. ~ connected to this research, collectively called the Wheel of Life project. One of the main aims of this creative project has been to subvert many of the "anachronistic" conventions of Western Art Music, particularly conventions such as performer/audience separation and overly rigid or ambiguous musical structures. By doing this, it is hoped th3t musical systems can be created that allow the participant to engage in a much more personally meaningful and actively creative experience.

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Broadhurst, Emily H. "The effect of frustration reduction techniques on self-reported mood scales and physiological responses". Thesis, University of the Pacific, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1558976.

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The purpose of this study was to explore treatment options for aggression-related disorders. Two activities were examined to validate their use as frustration-reduction techniques --yoga and therapeutic drumming. Twenty-two college students were randomly assigned to participate in one of three groups--yoga, drumming, or silence (control)--following experimentally-induced frustration using a computerized Stroop color-word technique. Self-reported emotion levels and physiological responses were tracked at baseline, post-frustration, and post-treatment to measure responses to treatment. Results indicate that self-reported frustration levels were significantly reduced in all experimental groups, but physiologic responses showed no significant changes. A Multivariate Analysis of Variance (MANOVA) indicated no significant difference in lowered frustration for any of the treatment groups, suggesting that they are equally effective. These results also suggest that the passage of time may be key to successful emotion regulation. Further study should examine control variables and methodology to identify other factors that may be involved in regulating aggressive emotions.

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Th'ng, Hannah. "Larry Sitsky’s Century: A response to selected twentieth-century notation, associated piano techniques, and performance possibility". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2023. https://ro.ecu.edu.au/theses/2662.

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In 2016, the Australian composer, virtuoso pianist, and pedagogue Larry Sitsky (b. 1934) completed a three-volume set of 155 graded pieces for pianists entitled Century. The work focuses on certain twentieth-century innovations with regard to notation and associated piano technique(s)—distinctive issues not commonly explored pedagogically. This study addresses specific notational and associated technical challenges in selected pieces from Century. The study also provides performative and pedagogical suggestions derived both from Sitsky himself and from the author. The following notational categories are explored: clusters, feathered notation, and non-pitched notation. This research provides pianists with tools that may enable an understanding of specific twentieth-century notation and of associated pianistic techniques. Furthermore, the study establishes Century as a valuable, although hitherto neglected, pedagogical resource.

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Gafor, Susan, e Hartmann Lise Sihvola. "The effectiveness of using songs and music to foster motivation and language development in the young English L2 classroom". Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-30610.

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Teachers work with large student groups and their job is to make their pupils’ grow and evolve in their learning every day, even though the students may not be interested in the subject at all. How can teachers manage to do this with such a variety of students? What tools can be used to motivate as many of them as possible to achieve the most favourable learning outcomes? Music is a universal language that most people enjoy and for children it is even a natural part of growing up. Music can be a pleasant and fun element in the classroom, so we want to investigate if teachers could take advantage of this and use music and songs as an effective motivator to foster second language development. In the national curriculum, Skolverket states that teachers need to build upon the pupil’s confidence in their own ability to use language in different situations and for different purposes (Skolverket, 2011). What happens with the classroom environment when music is used and what happens to the pupils? There is research pointing to the benefits of using music in second language learning however, there exists some disagreement among researchers if music could improve language development or if it is just a fun activity. Researchers also discuss on how to use music in the classroom in the most valuable way. In the current study, we explore and provide an overview for the possible advantages of using music. We also investigate the effectiveness of different musical approaches for facilitating language learning for young children in an educational context. In particular, we will discuss how songs and music can motivate young English language learners in their process and how the second language development can benefit from this.

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Allen, Matthew. "The belt’s got soul! an investigation into the vocal characteristics of r&b/soul singing and the production of the ‘belt voice’ within this style". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2024. https://ro.ecu.edu.au/theses/2766.

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The dissertation investigates and defines the vocal characteristics of rhythm and blues (R&B)/soul singing within contemporary commercial music (CCM). Over the course of more than 80 years, the R&B/soul style of singing has evolved to become a prominent and influential component of the music landscape. This research addressed the question of whether the ‘belt’ voice is an integral part of R&B/soul singing and investigated the skills required for its sustainability. Furthermore, the project explored, through rigorous acoustic analyses and computed tomography (CT) scanning, the physiological events occurring at the laryngeal level during ‘belting’ by R&B/soul singers. The study commenced with a comprehensive survey analysis of performances by five pioneering R&B/soul singers, assessed by a panel of recognised industry practitioners and pedagogues from across the globe. Through this evaluation and the accompanying questionnaire, the vocal characteristics of R&B/soul singing were examined and refined. The outcomes challenge and extend the scope of existing literature and reveal the belt voice as the most challenging characteristic of R&B/soul singing to acquire. The investigation narrowed its focus to the belt voice as a crucial characteristic, leading to five in-depth interviews with renowned practitioners and educators. The findings of these interviews unveiled a novel perspective on the timbral nuances of the R&B/soul belt voice, distinguishing it from traditional belt voices observed in music theatre. This notion acted as a catalyst for the final phase of the study, in which the biomechanical aspects of R&B/soul belting were explored. A groundbreaking experiment involving CT scanning of 10 vocalists during both comfortable and belted pitches uncovered pivotal insights into vocal fold lengthening, larynx positioning and pharyngeal wall mobility. These results contribute to the emerging understanding of the physiological mechanisms behind R&B/soul belting and highlight its uniqueness within the broader spectrum of vocal styles. In summary, this research establishes a comprehensive framework for understanding the vocal characteristics of R&B/soul singing, with a significant focus on the belt voice. By fusing artistic analysis, expert surveys, questionnaires, interviews and cutting-edge imaging techniques, this study advances our understanding of the vocal complexities that define this style, shedding light on both its artistic essence and the physiological events that underscore the R&B/soul singer’s performance.

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Mulliken, Jasmine Tiffany. "From "disentangling the subtle soul" to "ineluctable modality" : James Joyce's transmodal techniques". Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3060.

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This study of James Joyce's transmodal techniques explores, first, Joyce's implementation of non-language based media into his works and, second, how digital technologies might assist in identifying and studying these implementations. The first chapter introduces the technique of re-rendering, the artistic practice of drawing out certain characteristics of one medium and, by then depicting those characteristics in a new medium, calling attention to both media and their limitations and potentials. Re-rendering can be content-based or form-based. Joyce employs content-based re-rendering when he alludes to a piece of art in another medium and form-based re-rendering when he superimposes the form of another medium onto his text. The second chapter explores Dubliners as a panoramic catalog of the various aspects involved in re-rendering media. The collection of stories, or the fragmented novel, shows synaesthetic characters, characters engaged in repetition and revision, and characters translating art across media by superimposing the forms, materials, and conventions of one medium onto another. Dubliners culminates in the use of coda, a musical structure that commonly finalizes a multi-movement work. The third chapter analyzes of A Portrait of the artist as a young man, focusing on its protagonist who exhibits synaesthetic qualities and a penchant for repeating phrases. With each repetition he also revises, a practice that foreshadows the form-based re-rendering Joyce employs in Ulysses and Finnegans Wake. The fourth chapter explores the "Sirens" episode of Ulysses. In this episode, Joyce isolates the structure of the musical medium and transfers it to a literary medium. This technique shows his advanced exploration of the effects of one artistic medium on another and exemplifies his innovative technique of re-rendering art forms. Finally, the fifth chapter explores how we might use digital technologies to visualize Joyce's techniques of re-rendering. Based on these visualizations, we might identify further connections Joyce makes across his works.
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Anaka, Nicole Elaine. "Women on the verge, sounds from beyond : extended vocal technique and visions of womanhood in the vocal theatre of Meredith Monk, Diamanda Galás, and Pauline Oliveros". Thesis, 2006. http://hdl.handle.net/1828/1838.

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Women composers have not traditionally been at the forefront of genre development. Western classical musical genres and formal structures tend to operate by conventions codified by male composers of European and North American descent, and, accordingly, reflect patriarchal aesthetics and viewpoints. The nascent genre of vocal theatre, however, has been primarily defined by the works of women composer/performers. Artists Meredith Monk, Diamanda Galas, and Pauline Oliveros have created new modes of theatre for the voice; in their personal explorations of extended vocal technique, the female voice is used as a tool for discovering, activating, remembering, and uncovering a consciousness that is primordial, pre/anti-logical, and oracular. My thesis proposes that the vocal theatre of these women functions as musical ecriture feminine, a term first introduced by French feminist theorist Helene Cixous. As a theoretical framework, ecriture feminine provides a particularly useful tool for interpreting these works, which, in the importance they place on openness, transcending language, embodied performances, and personal visions of womanhood, reveal aesthetic concerns that in many ways have more in common with the literary genre of ecriture feminine than those of canonical Western art music. I argue that these works are important not only as musical ecriture feminine, but as examples of an alternative, "feminine" compositional practice that prioritizes collaboration, improvisation, and intuitive modes of creativity. In doing so, they destabilize the traditional "maleness" of genre creation.

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Capitoli di libri sul tema "Humanities -> music -> techniques"

Sun, Jiale. "Analysis of the Performance Techniques and Style of Yan Zongbai’s Bamboo Flute Music". In Advances in Social Science, Education and Humanities Research, 1064–71. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-170-8_120.

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Sadhana, Senyum, Harpang Y. Karyawanto e Heri Murbiyantoro. "Sticking as a Basic Drum Technique in the Indria-Level Percussion Course in the Music Study Program". In Proceedings of the International Joint Conference on Arts and Humanities 2022 (IJCAH 2022), 1687–94. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-008-4_182.

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Vieira, Edinilson Santos, e Débora Araújo Leal. "Education and teaching Ead: reflections on pedagogical practice in Post Modernity". In Themes focused on interdisciplinarity and sustainable development worldwide. Seven Editora, 2023. http://dx.doi.org/10.56238/tfisdwv1-173.

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This article aims to discuss Education and Distance Learning, so it is taken into account that technology is a product of the Exact Earth and Applied Social Sciences that involves a set of instruments, methods and techniques aimed at improving the knowledge tree. As well as, Agrarian Sciences, Biological, Health, Engineering, Humanities, Linguistics, Letters and Arts which are practical applications of scientific knowledge in various areas of research and that assume great importance in human life, they provide increasingly modern tools, in various sectors, which provides convenience, entertainment, curiosity and fun. The purpose is to show how education has spread in conjunction with distance learning and electronics, however the student can count on an environment that wants to be with people from their own social life, or listen to music, in short, you can enjoy your day and still manage your studies, with "autonomy". This is a qualitative study with bibliographic research that points through literature and the confrontations of Post Modernity as THE is the new key for Education and the promotion of Hybrid and Remote Teaching.

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Pearson, David. "The Dystopian Sublime of Extreme Hardcore Punk". In Rebel Music in the Triumphant Empire, 103–32. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197534885.003.0004.

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With roots in the 1980s and becoming a coherent trend in the 1990s, extreme hardcore punk pushed the intensity of punk music beyond previous levels with beats over 800 BPM, screamed or growled vocals, and guitar riffs built from dissonant and nondiatonic pitch material. Its lyrics often provided dystopian warnings of environmental catastrophe and humanity’s downfall due to globalized capitalism. Analysis and reception history of the music of bands such as Dropdead, His Hero Is Gone, Hellnation, and Capitalist Casualties identify the musical techniques and sublime effects of the extreme hardcore punk subgenre, also referred to as grindcore and power violence.

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Atti di convegni sul tema "Humanities -> music -> techniques"

Zhou, Xianying. "The combination of national music elements and western composition techniques in Liu Xiaogeng's Piano Works--In the piano works qSani fantasyq". In 2016 5th International Conference on Social Science, Education and Humanities Research. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ssehr-16.2016.338.

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Stockert, Robin, Andreas Bergsland, Stefano Fasciani e Alexander refsum Jensenius. "STUDENT ACTIVE LEARNING IN A TWO CAMPUS ORGANISATION". In eLSE 2020. University Publishing House, 2020. http://dx.doi.org/10.12753/2066-026x-20-080.

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Higher education is facing disruptive changes in many fields. Students wants to have the option of learning anywhere, anytime and in any format. Universities need to develop and deliver to future students a complete learning ecosystem. At the same time universities are facing challenges such as growing costs and the pressure to give the students the knowledge, competence, skills and ability to continuously adapt to future job environments. As a consequence, many universities are investigating new ways of collaboration and sharing resources to cater to the demands of students, industry and society. An example of this collaboration is a new joint master between the two largest Universities in Norway: University of Oslo (UiO) and Norwegian University of Science and Technology (NTNU). In this paper, we present the lessons learned from almost two years of teaching and learning in the new joint master's programme, "Music, Communication and Technology" (MCT), between NTNU and UiO. This programme is a run in a two-campus learning space built as a two-way, audio-visual, high-quality, low-latency communication channel between the two campuses, called "The Portal". Moreover, MCT is the subject of research for the SALTO (Student Active Learning in a Two campus Organisation) project, where novel techniques in teaching and learning are explored, such as team-based learning (TBL), flipped classroom, and other forms of student active learning. Educational elements in this master, provides the student with 21st century skills and deliver knowledge within humanities, entrepreneurship and technology. We elaborate on the technical, pedagogical and learning space-related challenges toward delivering teaching and learning in these cross-university settings. The paper concludes with a set of strategies that can be used to improve student active learning in different scenarios.

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"Discussion on string technique in MIDI music production". In 2017 International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2017. http://dx.doi.org/10.25236/ssah.2017.21.

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Dima, Gabriela E. "ANNA BOLENA BY FELICE ROMANI: THE LIBRETTO AND ITS SOURCES". In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs10.15.

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Author of almost one hundred libretti for opera composers of the first half of the 18th century, Felice Romani has perfected a poetry technique that allows a successful combination of music and verse, thus becoming the favourite librettist of the belcanto authors Donizetti and Bellini. His stories are not original, but he masters the ability to adapt his sources in a light yet potent poetry with a strong impact upon the audience. Anna Bolena, put into music by Gaetano Donizetti, presents the tragic story of Henry VIII�s second wife. The sources of the libretto are generally considered to be two almost forgotten tragedies: Anna Bolena by Alessandro Pepoli (Venice, 1788) and Enrico VIII ossia Anna Bolena by Giovanni Pindemonte (Torino, 1816), actually an adaptation of Marie Joseph de Chenier�s tragedy, Henri VIII (1791). After carrying out a thorough analysis of the three texts, we noticed that Romani�s plot is only partially based on the earlier tragedies while some elements he introduces suggest that he must have had other sources as well. At the same time, he surpasses his predecessors in the construction of the characters, giving them psychological depth. As a result, we can conclude that Romani is only partially tributary to the two sources and succeeds in proposing a personal view on the subject he elaborates for Donizetti.

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