Rozprawy doktorskie na temat „Jazz à la télévision”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Jazz à la télévision”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
François, Philippe. "L'idée de télévision protestante : principe protestant et télévision d'auteur". Université Marc Bloch (Strasbourg) (1971-2008), 1996. http://www.theses.fr/1996STR20061.
Pełny tekst źródłaDefined theoretically and heuristically as programmes or films produced for television in accordance with tillich understanding of the protestant principle, protestant television benefits from the nouvelle vague cinema and discussions on the notion of author ("la politique des auteurs"). Literary and film works of three protestant authors namely alexandre astruc, roger leenhardt and jean-luc godard, have created a framework for audiovisual space considered from a protestant point of view. Thesis : protestant television is a television created by authors who film authors - the author being he who transforms a critical intention into creation
Martin, Valérie. "La télévision, média de masse ou média individuel ? De la télévision traditionnelle à la e-télévision". Thesis, Paris 9, 2015. http://www.theses.fr/2015PA090071.
Pełny tekst źródłaTraditional TV, "Voice of France" is a mass medium. With a home ownership rate of over 98%, a viewing rate of l more than 3.50 hours, advertising revenue of over 4 billion euros , and “contenus Rendez-vous” bringing in record audiences, television rules over the living room, bringing the family together up into the 1980s. It is, however, controlled by the ruling political powers.Under the presidency of François Mitterrand, television was liberalized with the appearance of new private and commercial channels, financed by audiences and advertising, while the public sector continued to be funded by a license fee. In the 90s, the arrival of cable and satellite, followed by TNT in 2005, allowed the amazing increase of a number of new channels and TV services (« subscriptions to cable, satellite and finally Canal + in 1984 )But this evolution continues with the arrival of digital TV, revolutionizing the industry. It increases the number of channels exponentially, expands the production of content generated by consumers, and promotes interactivity through social networks. Technological advances are changing consumer habits with regard to the small screen, especially for young people. The computer, tablet, smartphone and the connected TV let you watch "television as I want, where I want, when I want”. Traditional TV, once considered as a mass media, is now a media that is individualized and that adapts to the tastes and desires of each viewer.The current financial system in France is literally exploding to deal with the internationalization of audiovisual content and players, with most of the content produced in North America.. Obsolete regulations can no longer keep pace with consumer demand in Europe and France. Faced with global supply and new viewing habits (delinearised viewing: replayand video on demand), television still continues to unite the public around major news events (sporting events, political events, the evening news …). The important, rapid changes now occurring in TV content and distribution lead to considerable uncertainty with regard to the future of traditional television, and unless it can adapt, it could more or less disappear in the long term
Miyouna, Ludovic-Robert. "La télévision congolaise". Bordeaux 3, 1991. http://www.theses.fr/1991BOR30015.
Pełny tekst źródłaDid the congolese television mould the new man toward the socialist society ? its experience of these last ten years in the field of production and programs proves us conclusively that the project failed, for three reasons : 1 - the dominant social stratums are yet attracted by west-european personal qualities; 2 - the local political context, the inadequate human and financial ressources, don't permit enough programs' creation; 3 - the non-existence of a specific model for that television, specially about information and creativity, sure, the present democratic process in congo can intensify the function of television for the national development. The progress of the technology will have good implications in the society, and can change the relationship between people and mass communication means
Martino, Luiz Claudio. "Télévision et conscience". Paris 5, 1997. http://www.theses.fr/1997PA05H047.
Pełny tekst źródłaFigueiredo, Luís Alberto Cordeiro de. "Jazz, identidade musical e o piano Jazz em Portugal". Doctoral thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/16212.
Pełny tekst źródłaAo longo de todo o séc. XX, o jazz construiu um espaço alternativo às dicotomias heurísticas tradicionais, como por ex. tradição/inovação, erudito/popular, composição/improvisação, entre outras. Por entre discursos polarizados, o jazz afirmou-se como domínio musical conciliador de diferenças culturais e sociais, configurando um espaço novo de mediação, um “jazz art world” como definido pelo sociólogo Paul Lopes. Nesse espaço, a individualidade sempre assumiu enorme centralidade, em virtude do papel particularmente criativo do performer e também da sua relação elástica com os «modelos» referenciais para a performance. Assim, o jazz afigura-se um domínio privilegiado para a expressão da individualidade e, por conseguinte, para a construção e identificação de uma «identidade musical», tal como a expressão é proposta nesta tese. Para a discussão destes problemas conceptuais, esta tese recorre, como estudos de caso, a um conjunto de pianistas portugueses: António Pinho Vargas (1951-), Mário Laginha (1960-), João Paulo Esteves da Silva (1961-) e Bernardo Sassetti (1970-2012). É traçada a sua trajectória pessoal e formativa, e é apresentada uma análise da sua produção musical, com recurso à «teoria das tópicas» enquanto modelo particularmente orientado para a análise da música popular. No sentido de compreender os processos de construção das identidades musicais destes pianistas, são ainda abordadas outras temáticas, como a própria definição de «jazz», o jazz enquanto música dialógica, ou os fluxos diaspóricos do jazz (incluindo as respectivas implicações e variantes terminológicas, como “jazz diaspora”, “musical cosmopolitanism” e “glocalization”). Recorrendo a pesquisa bibliográfica, trabalho de campo (mormente a entrevista) e técnicas de análise musical, esta tese realiza uma exploração aprofundada destes tópicos e do trabalho dos músicos em particular. Desta forma, pretende oferecer um contributo para uma reflexão conceptual sobre o jazz em geral no âmbito dos jazz studies, e também para um mapeamento estilístico e identitário do jazz em Portugal.
Throughout the twentieth-century, jazz has built a space that operates as an alternative to traditional heuristic dichotomies, such as tradition/innovation, art/popular, composition/improvisation, amongst others. In the midst of polarized discourses, jazz as a musical domain has functioned as a conciliating force between cultural and social distinctions creating a new space for mediation, a “jazz art world” as defined by sociologist Paul Lopes. In that space, individuality has always been a central element, deriving from the particularly creative role played by the performer and also from jazz’s elastic connections with the “models” for performance. Hence, jazz is a privileged domain for expressing individuality and therefore for the construction of a «musical identity» as it is proposed in this dissertation. In order to discuss these conceptual problems, this dissertation refers to a set of Portuguese pianists as case studies: António Pinho Vargas (1951-), Mário Laginha (1960-), João Paulo Esteves da Silva (1961-) and Bernardo Sassetti (1970-2012). Their personal and professional trajectories are herein outlined, and an analysis of their musical output is presented using the theory of “musical topics” as a model specifically designed for analyzing popular music. In order to understand the processes of constructing these musicians’ musical identity, this dissertation addresses other topics, such as the very definition of «jazz», jazz as dialogic music, or jazz’s diasporic flows (including its implications and terminological variants, such as “jazz diaspora”, “musical cosmopolitanism” and “glocalization”). Making use of bibliographical research, fieldwork (namely interview) and musical analysis techniques, this dissertation carries out a profound exploration of these topics and of the musicians’ work. In doing so, it aims at offering a contribution towards a conceptual reflection on jazz in general within jazz studies, and also towards a stylistic and identitary mapping of jazz in Portugal.
Beale, Charles W. "From jazz to jazz in education : an investigation of tensions between player and educator definitions of jazz". Thesis, University College London (University of London), 2001. http://discovery.ucl.ac.uk/10006655/.
Pełny tekst źródłaFarley, Jeff. "Making America's music : jazz history and the Jazz Preservation Act". Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/519/.
Pełny tekst źródłaDotzek, Karl. "Så ni spelar jazz : Lärares perspektiv om jazz i gitarrundervisningen". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76418.
Pełny tekst źródłaThe purpose of this study was to make an overview of how contemporary guitar teachers instruct jazz at the aesthetics program with music orientation. This is a qualitative study where three guitar teachers from southern Sweden were interviewed to receive the empirical material to discuss how jazz is introduced for students. The result shows that the teachers have different viewings on the genre jazz in a teaching environment, however that the teachers are somewhat like-minded in their way of educating their students in the jazz genre. The results also shows that during the planning stages of the lessons the student in question have a great deal to do with how the education is brought out. The teachers also shed lights on what sort of students that get a growing interest for playing jazz and how they work with students that are not used to listening to jazz music.
Macé, Éric. "Sociologie de la télévision, sociologie de l'expérience : individus et télévision de masse". Paris, EHESS, 1994. http://www.theses.fr/1994EHES0022.
Pełny tekst źródłaThe purpose of this study is to understand the nature of the relation between individuals and mass television. We show that television's success with widespread audience is based on the "connivance" between television programs that integrate the uncertainties and tensions of the social experience felt by its wide audeince, and socially dominated individuals who find in this programs a cultural field of subjectivity. The first part of the study presents an analysis that goes beyond the gap, recurrent in media sociology, between theories of alienation througt cultural industries and theories of audience gratification. The second part is devoted to an empirical observation of the making of successful programs, and to a reception analysis with seven socially differentiated groups. We show that individuals never dissociated their relation to television from the larger framework of their social experience. The third part aims at determining the political dimension of individual relation to television. We show, through a case study
Hellberg, Stina. "Jazz på harpa". Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-947.
Pełny tekst źródłaDyson, Kathy. "Learning jazz improvisation". Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/3627/.
Pełny tekst źródłaAhn, Byungkyu. "Journey for Jazz". Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4245/.
Pełny tekst źródłaBilge, Belgin. "La télévision en Turquie". Paris 2, 2002. http://www.theses.fr/2002PA020013.
Pełny tekst źródłaWilliams, Katherine A. "Valuing jazz : cross-cultural comparisons of the classical influence in jazz". Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12622/.
Pełny tekst źródłaOrmsby, Verle A. "John Jacob Graas, Jr. : jazz horn performer, jazz composer, and arranger". Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/560288.
Pełny tekst źródłaSchool of Music
Petty, Simon. "Tasmanian Jazz Identity: A History of Jazz in Tasmania 1917-1989". Thesis, Griffith University, 2021. http://hdl.handle.net/10072/404860.
Pełny tekst źródłaThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
Bigeon, Christine. "Choix d'orientation, genre et télévision : Devenir footballeuse ou maïeuticien grâce à la télévision ?" Phd thesis, Conservatoire national des arts et metiers - CNAM, 2012. http://tel.archives-ouvertes.fr/tel-00738838.
Pełny tekst źródłaKatuszonek, N. M. "Jazz, pop, improvisation, national identity and the role of the jazz drummer". Thesis, University of Salford, 2014. http://usir.salford.ac.uk/32827/.
Pełny tekst źródłaSykes, T. G. "Jazz for the Ipod generation : digital media and jazz in the UK". Thesis, University of Salford, 2014. http://usir.salford.ac.uk/31009/.
Pełny tekst źródłaTudoret, Patrick. "De la paléo-télévision à la sur-télévision : vie et mort de l'émission littéraire". Paris 1, 2007. http://www.theses.fr/2007PA010265.
Pełny tekst źródłaWhite, Matthew S. "Visualization in Jazz Improvisation". Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/561.
Pełny tekst źródłaDreps, Krystoffer. "Béla Bartók im Jazz". Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-25543.
Pełny tekst źródłaMandin, Tyler George. "Jazz as serious leisure". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/MQ32179.pdf.
Pełny tekst źródłaByrne, Victoria. "Acid jazz in Adelaide /". Title page, contents and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09MU.B/09mu.bb995.pdf.
Pełny tekst źródłaWells, Jonathan R. "Jazz at Lincoln Center". ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/aa_rpts/101.
Pełny tekst źródłaVidal, Daniel, i Henry Torres. "Club de Jazz Monk". Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/143105.
Pełny tekst źródłaDaniel Vidal [Parte I], Henry Torres [Parte II]
El presente plan de negocio contempla la creación de un Club de Jazz en la Ciudad de Concepción. Consistirá en un Pub con música en vivo con bandas de la región y músicos emergentes. Será un espacio para los amantes de la buena música, únicos en este estilo musical en la región, con una ambientación y cartelera que nadie posee. Como pioneros en la industria, de este tipo de club en la ciudad, se estima que la masificación del servicio sea progresiva y cada día se proyecta que nuevos clientes/usuarios vendrán a disfrutar de una entretenida tarde-noche. El propietario de este proyecto será Sociedad “VITO”, sociedad que se encontrará a cargo de la totalidad de las tareas del proyecto. Esta sociedad, será propiedad de dos personas naturales, amantes del Jazz, que aportan el know how de la gestión y desarrollo del negocio. El proyecto contempla una inversión y capital de trabajo de $ 54,6 Millones, la cual será aportado por los 2 socios fundadores más un socio inversionista externo. El proyecto no contempla la generación de crédito de financiamiento. De acuerdo a los resultados del plan financiero el VAN obtenido es de $ 148 millones aproximadamente, considerando una tasa de descuento de un 18,2%. Por otra parte la TIR es de 78 % con un Payback de 2 años, bajo estos criterios de evaluación se recomienda la implementación y ejecución de mencionado plan de negocio, como una alternativa rentable para los inversionistas. Los detalles se encuentran en la parte II del plan de negocio. Club de Jazz “Monk”, nace de la idea de satisfacer un nicho no explotado y abandonado en la ciudad de Concepción, necesidad que nadie a cubierto hasta el día de hoy en la región. La idea es entregar un lugar de encuentro musical y artístico para los amantes de un estilo musical distinto a lo tradicional y que muchos anhelan tener un lugar de encuentro. Dado los estudios realizados preliminares, se llega a la determinación que el club es viable económicamente y estructuralmente, encontrando un porcentaje de ciudadanos de la ciudad dispuestos a cancelar por asistir al lugar. Sociedad VITO, será el dueño de este club, emplazado en Las Lomas de San Andrés, cercano a centros comerciales, universidades, hoteles y accesos muy dispersos. Los socios entregan el know how de la gestión y desarrollo del negocio. El proyecto contempla una inversión y capital de trabajo de $ 54,6 Millones, un VAN de $148 millones app, TIR 78% y payback de 2 años. Contará con alta seguridad, gran infraestructura, gran gastronomía y barra, alta tecnología y sobre todo un ambiente único que el cliente agradecerá, ya que la idea principal es entregar una experiencia de vida al usuario
Hargreaves, Wendy Louise. "Jazz Improvisation: Differentiating Vocalists". Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366673.
Pełny tekst źródłaThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
Cavagnoli, Murilo. "Jazz e improvisação musical". reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/100873.
Pełny tekst źródłaMade available in DSpace on 2013-06-25T23:28:29Z (GMT). No. of bitstreams: 1 313532.pdf: 829089 bytes, checksum: 6f4118e5acf8d41572a6524a695a68a5 (MD5)
Este trabalho tem como objetivo compreender de que modo se dão as relações estéticas e os processos de criação no encontro entre músicos que se dedicam, em coletivos, ao trabalho acústico da improvisação musical. Compreendemos a música como uma linguagem reflexivo-afetiva, capaz de produzir sentidos compartilháveis e ao mesmo tempo singulares, e o sujeito como constituído historicamente por relações dialéticas e dialógicas. Como procedimentos metodológicos, fomos orientados pelos apontamentos de Vygotski e de Bakhtin, além do método progressivo-regressivo de Sartre. Realizamos entrevistas com dois sujeitos de pesquisa e participamos de sessões de improvisação musical, com o objetivo de compreender de que modo a prática da improvisação atua como produtora de sentidos nas relações entre os sujeitos que compõe um pequeno coletivo musical. A criação, compreendida nas perspectivas de Bakhtin e de Vygotski, pressupõe sujeitos em relação dialógica, marcados pela polifonia e envolvidos na produção de uma obra musical em devir. Dentre os resultados, compreendemos que o ato da performance musical em grupo gera as condições para que, na relações entre os músicos que aí se estabelece, se torne possível apreender a música esteticamente. Os participantes de uma sessão de improvisação musical estão engajados na música tanto como ouvintes, interpretando as produções que são objetivadas, subjetivando o material sonoro e as percepções que tem dos outros músicos, quanto como intérpretes e improvisadores. É no encontro com o outro que os músicos ressignificam suas experiências anteriores, em um movimento mediado pela imaginação e pela linguagem musical, capaz de produzir o novo através do processo de criação.
Abstract : This work has the objective of comprehending how the aesthetic relations and the processes of creation occur while musicians dedicate themselves to the acoustic work and musical improvisation. We comprehend the music as a reflexive-affective language, able to produce sharable meanings and singular meanings at the same time, and the subject constituted historically by dialectic and dialogic relations. As methodological proccedure, we were guided by Vygotsky and Bakhtin pointings, in addition of the progressive/regressive method of Sartre. We submitted two subjects to interviews and we joined improvisation music sessions with the objective of comprehend the way improvisation acts as producer of meanings among the subjects that compound the group. The creation comprehended in the Bakhtin and Vygotsky perspectives presumpts subjectives in dialogical relation, characterized by polyphony and envolved in the production of a new musical feature in becoming. In the middle of the sort of results, we comprehended that the act of the group musical performance generates the conditions that, in relations established about musicians, makes possible to learn the music aesthetically. The participants of a jam session are as engaged as listeners, interpretating the productions that are objectivated, subjectivating the sound material and the perceptions that they have about the other musicians, as interpreters and improvisers. It is in the meeting with the other that the musicians ressignify their precedent experiences, in a movement mediated by imagination and by the musical language, capable of producing the new through the proccess of creation.
Beddok, Virgile C. "The Gems of Jazz". ScholarWorks@UNO, 2013. https://scholarworks.uno.edu/td/1714.
Pełny tekst źródłaKissenbeck, Andreas. "Diastematische Aspekte der Jazzimprovisation /". Hamburg : Kovač, 2007. http://www.verlagdrkovac.de/978-3-8300-3003-4.htm.
Pełny tekst źródłaKim, Mi Hyun. "La télévision et la politique". Aix-Marseille 3, 1992. http://www.theses.fr/1992AIX32021.
Pełny tekst źródłaTelevision and politics the strong relationship between television and politics stems out of legal framework set forth by politicans for television and of the powers bestowed on television by the same politicians. The evolution of french and south korean broacasting law illustrate television dependence on political authorities because of its communicational qualities. Television as a medium obeys to its own rules, riles with are under tje cmpse scritiny of political communication theories. In spite of being the most democratic object, television is undermiming democracy itself whilst it has the means to uphold this ideal. Key-word : television, south korea, france, broadcasting law, political communication, electoral campaigns, effects, debates, democracy
Almuzaini, Abdulaziz. "La télévision en Arabie saoudite". Paris 2, 1997. http://www.theses.fr/1997PA020089.
Pełny tekst źródłaLee, Moon Haeng. "L'économie de la télévision coréenne". Paris 2, 2000. http://www.theses.fr/2000PA020009.
Pełny tekst źródłaBorges, Rose-Marie. "Les services de télévision transfrontalière". Clermont-Ferrand, 1995. http://www.theses.fr/1995CLF10158.
Pełny tekst źródłaProgrammes broadcasted beyond bonders increased in ths last few years thanks to cable television and satellite. However, programmes broadcasted beyond bonders brought up some legal issues which could only be sonted out at a supranational level. The european community was a suitable area to conceive common principles for states. Television industry could indeed be managed either by setting up specific rules for this industry or by adapting general rules from community law. A market for programmes broadcasted beyond bonders could be reached by harmonizing the television industry legislation and respecting competition rules laid down by the e. C. Treaty
Olivesi, Stéphane. "Histoire politique de la télévision". Rennes 1, 1997. http://www.theses.fr/1997REN10006.
Pełny tekst źródłaRabson, Minoura Kenji. "Repertoire Memorization in Jazz Vol. 2 : Do College Jazz Programs Address the Subject?" Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2295.
Pełny tekst źródłaHsieh, Terence. "Jazz Meets East: Cultural Dimensions of Asynchronous Jazz Music Development in Modern China". Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1338392142.
Pełny tekst źródłaMuscarella, Susan. "The twentieth century jazz piano trio: the rise of an iconic jazz paradigm". Doctoral thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/18583.
Pełny tekst źródłaCottier, Jean-Philippe. "La science à la télévision : pour une approche qualitative des programmes scientifiques à la télévision". Rennes 2, 2000. http://www.theses.fr/2000REN20060.
Pełny tekst źródłaLn the late eighties, many scholars deplored that scientific programmes were disappearing from television. Since that rime, the French television screen has gradually been opening up to these specific programmes. However, though the presence of science is no longer a problem, the quality of the programmes has not really be addressed. What does "quality" mean when the notion is applied to such a complicated abject as television or to scientific programmes which must entertain people, educate them and inform them ? This research intends to set up a qualitative assessment method which associates the criteria used by experts, television professionals and scientists, with academic reflections on mass media and scientific, popularisation. Therefore, the analysis focuses on three dimensions: the programming quality, the quality of the relationship with science and the formai quality. Contrary to most discourses discrediting the univocity and standardisation of television productions, this approach reveals a much wider diversity of scientific programmes than expected as well as the regular participation of scientists who are far from being media stars. It also shows that television does not necessarily regard the scholarly world as sacred. But the analysis proves that television tends to privilege technique - considered as both knowledge production tools and applications -, than science and its methods. This portrays a way of legitimising the sciences through their technicity and their propensity to produce concrete artefacts. Today, the myth of science gives way to a new one which expresses the transition towards the so-called post-modernity : the myth of technique
Thomas-Caine, Oriane. "La télévision par cable ou par satellite : substitut, complément ou adjuvant à la télévision hertzienne". Paris 2, 2002. http://www.theses.fr/2002PA020003.
Pełny tekst źródłaSternfeld, Joshua. "Jazz echoes the cultural and sociopolitical reception of jazz in Weimar and Nazi Berlin, 1925-1939 /". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1432775961&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Pełny tekst źródłaLeonard, Neil. "Jazz and the white Americans : the acceptance of a new art form /". Ann Arbor (Mich.) : Umi books on demand, 1995. http://catalogue.bnf.fr/ark:/12148/cb37446039b.
Pełny tekst źródłaKeene, Joel Andrew. "The Influence of Jazz Harmony and Jazz Style on Selected Bass Trombone Solo Literature". Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/351.
Pełny tekst źródłaCordoba, Derick. "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital". FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2495.
Pełny tekst źródłaThorpe, Christopher John. "Deconstructing “the South African jazz feel”: roots, rhythms and features of South African jazz". Thesis, Rhodes University, 2019. http://hdl.handle.net/10962/76649.
Pełny tekst źródłaBowie, Elizabeth. "The New Orleans Jazz and Heritage Festival and Foundation: the Jazz and Heritage Gallery". ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/aa_rpts/99.
Pełny tekst źródłaSilva, Roberto José da. "Jazz da malta: estudo sobre a sustentabilidade da jam session Jazz Standards de Aveiro". Master's thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/23248.
Pełny tekst źródłaA presente dissertação de mestrado apresentada é um estudo sobre a jam session Jazz Standards de Aveiro. Trata-se, primeiramente, da busca pela sutentabilidade de um grupo criado por alunos da licenciatura da Universidade de Aveiro. Apesar da recente criação, tornou-se um importante evento dentro da cidade. A identificação do funcionamento de outras jam sessions, que acontecem em outras cidades do país, foi uma das etapas cumpridas no âmbito deste trabalho. As pesquisas etnográficas realizadas nas jam sessions geraram material de apoio para as futuras pesquisas dentro da mesma temática. Também foi feita uma abordagem sobre as políticas públicas relacionadas à “Lei do Silêncio”, que, de forma indireta, afetam não só o mercado de trabalho dos músicos da cidade, como também as realizações dos eventos da Jazz Standards.
The present master thesis presented is a study on the Jazz Standards jam session of Aveiro. This is the first focus of the search for the sustainability of a group created by undergraduate students at the University of Aveiro and that despite the recent creation, it has become an important event within the city. The search for understanding the operation of other jam sessions that take place in other cities of the country was one of the steps completed within this project. The ethnographic researches conducted in the jam session will generate material to support future research within this theme. An approach was also taken to the public policies related to the "law of silence" that indirectly affected not only the work market of the city musicians but also affected the achievements of Jazz Standards events.
Bonte, Josette. "La télévision à contrôle d'accès aux Etats-unis du pay-per-view à la télévision intercative". Paris 2, 1996. http://www.theses.fr/1996PA020085.
Pełny tekst źródłaThis thesis starts by defining conditional access television, otherwise known as "a la carte", and takes the reader through its first 10-year history. It discusses the technological, regulatory, sociological and business strategies underlying its development and its migration from analog pay-per-view to fully digital, fully switched, interactive television. The first part comprises an exhaustive review of the various services and program packages currently available on an "a la carte" basis in the united states and provides a description of their related distribution technology. The second part is devoted to an analysis and evaluation of the early forms of interactive television currently available in the united states. Finally, the third part analyzes the convergence between the entertainment, the telecommunications, and the computer industries currently under way, in order to allow the birth of a truly revolutionary new medium: interactive digital video delivered interchangeably via the television or the personal computer
Vovou, Ionna. "La démocratie à l'ère de la télévision : les débats politiques à la télévision hellenique (1990-1998)". Paris 3, 2000. http://www.theses.fr/2000PA030166.
Pełny tekst źródłaReynold, de Seresin Diane. "De l'industriel à la communication : la télévision, industrie et commerce d'ondes". Paris 10, 1988. http://www.theses.fr/1988PA100004.
Pełny tekst źródła