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Artykuły w czasopismach na temat "Music and technology"
Adu-Gilmore, Leila. "Accessing marginalized musics through adaptable, culturally sustaining music technology modules". Journal of Popular Music Education 7, nr 3 (1.09.2023): 317–34. http://dx.doi.org/10.1386/jpme_00130_1.
Pełny tekst źródłaMakhammatov, Abdumannon. "Computerization Technology Of Music Education". American Journal of Social Science and Education Innovations 02, nr 10 (31.10.2020): 418–21. http://dx.doi.org/10.37547/tajssei/volume02issue10-67.
Pełny tekst źródłaBarnicle, Stephan. "Music Technology". Music Educators Journal 84, nr 3 (listopad 1997): 9. http://dx.doi.org/10.2307/3399047.
Pełny tekst źródłaTarabella, Leonello. "Music, communication, technology". Journal of Science Communication 04, nr 01 (21.03.2005): C05. http://dx.doi.org/10.22323/2.04010305.
Pełny tekst źródłaKassner, Kirk. "Funding Music Technology". Music Educators Journal 84, nr 6 (maj 1998): 30–35. http://dx.doi.org/10.2307/3399099.
Pełny tekst źródłaMozée, Ben. "Music Technology Labs". Phi Delta Kappan 86, nr 5 (styczeń 2005): 416. http://dx.doi.org/10.1177/003172170508600519.
Pełny tekst źródłaFlašar, Martin. "Technology or theology? : music beyond technology". Musicologica Brunensia, nr 1 (2017): 63–68. http://dx.doi.org/10.5817/mb2017-1-6.
Pełny tekst źródłaNetti, S. Yollis Michdon, i Irwansyah Irwansyah. "Spotify: Aplikasi Music Streaming untuk Generasi Milenial". Jurnal Komunikasi 10, nr 1 (31.07.2018): 1. http://dx.doi.org/10.24912/jk.v10i1.1102.
Pełny tekst źródłaZhang, Peiwei, i Xin Sui. "Application of Digital Music Technology in Music Pedagogy". International Journal of Emerging Technologies in Learning (iJET) 12, nr 12 (20.12.2017): 4. http://dx.doi.org/10.3991/ijet.v12i12.7966.
Pełny tekst źródłaSanders, Paul. "Technology in Music Education". Musical Times 133, nr 1795 (wrzesień 1992): 440. http://dx.doi.org/10.2307/1002363.
Pełny tekst źródłaRozprawy doktorskie na temat "Music and technology"
Barrett, James Edward. "Music technology in school education". Thesis, London Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515328.
Pełny tekst źródłaSarkar, Mihir Ph D. Massachusetts Institute of Technology. "World music technology : culturally sensitive strategies for automatic music prediction". Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77812.
Pełny tekst źródłaCataloged from PDF version of thesis.
Includes bibliographical references (p. 103-112).
Music has been shown to form an essential part of the human experience-every known society engages in music. However, as universal as it may be, music has evolved into a variety of genres, peculiar to particular cultures. In fact people acquire musical skill, understanding, and appreciation specific to the music they have been exposed to. This process of enculturation builds mental structures that form the cognitive basis for musical expectation. In this thesis I argue that in order for machines to perform musical tasks like humans do, in particular to predict music, they need to be subjected to a similar enculturation process by design. This work is grounded in an information theoretic framework that takes cultural context into account. I introduce a measure of musical entropy to analyze the predictability of musical events as a function of prior musical exposure. Then I discuss computational models for music representation that are informed by genre-specific containers for musical elements like notes. Finally I propose a software framework for automatic music prediction. The system extracts a lexicon of melodic, or timbral, and rhythmic primitives from audio, and generates a hierarchical grammar to represent the structure of a particular musical form. To improve prediction accuracy, context can be switched with cultural plug-ins that are designed for specific musical instruments and genres. In listening experiments involving music synthesis a culture-specific design fares significantly better than a culture-agnostic one. Hence my findings support the importance of computational enculturation for automatic music prediction. Furthermore I suggest that in order to sustain and cultivate the diversity of musical traditions around the world it is indispensable that we design culturally sensitive music technology.
by Mihir Sarkar.
Ph.D.
Kay, Marja Liisa. "Contemporary vocal music : language, technology and contemporary vocal music of Finland". Thesis, University of York, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583263.
Pełny tekst źródłaWilliams, Andrew. "The functions of Walkman music /". Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09phw7211.pdf.
Pełny tekst źródłaEbadi, Solmaz, i Mirja Johansson. "Music File Sharing : Genius Technology or Copyright Infringement?" Thesis, Jönköping University, JIBS, Commercial Law, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-7598.
Pełny tekst źródłaToday’s technology of music file sharing in peer-to-peer networks is genius. Peer-to-peer are networks composed of several computers enabling files to be shared among users. A substantial part of the files shared constitute unlawful copies; uploading and downloading of such files infringes copyright legislation. File sharing through peer-to-peer networks is therefore both a genius technology and a copyright infringement.
Peer-to-peer technology has been subject to heavy debate in media, both nationally and internationally. The issue of illegal downloads of music is an international dilemma since music is a global commodity. Sweden has been accused of being file sharers’ haven by organisations such as the Recording Industry Association of America (RIAA). Internet access and broadband capacity is very high in Sweden, which is a reason why many Swedes engage in file sharing. The Swedish company, The Pirate Bay, is the creator of one of the most popular file sharing websites in the world, using the BitTorrent application. The website offers free downloading of inter alia music, films and software. Like most peer-to-peer networks the Pirate Bay website includes copyrighted material, which often is published without the consent of copyright holders. As a result The Pirate Bay is facing a lawsuit on behalf of numerous organisations and companies in the music and film industry.
The Pirate Bay is accused of contributory infringement and of preparation to commit a copyright infringement according to the Swedish Copyright Act (SwCA). Contrary to the American copyright legislation, the SwCA does not contain any explicit provisions regarding contributory infringement. The SwCA refers to the Swedish Criminal Code, which states that preparation to copyright infringement and contributing to such infringement is illegal and punishable. There is currently a lack of Swedish case law regarding copyright infringement and there are no cases concerning contributory infringement. One reason is that the field of law is constantly changing; the copyright legislation is adjusted to the technological developments. The lack of case law causes unpredictability of the SwCA, which may be harmful to the rule of law. International organisations, such as the RIAA, consider the SwCA to be somewhat ineffective and that it needs to be amended in order to uphold the fundamental purpose of copyright.
Copyright is a partly harmonised area of law from a global perspective. However, since the Internet and file sharing through peer-to-peer networks is an international phenomenon, copyright legislation needs further harmonisation internationally. At the time there is an ongoing process of implementing the European Union (EU) Enforcement Directive into the SwCA, which grants greater rights to copyright holders. The Directive contains provisions that simplify the process of taking action against an alleged infringer, which may in the long run increase the amount of case law in Sweden. At the same time the implementation of the Enforcement Directive has been criticised as being too far reaching and intruding people’s privacy.
File sharing through peer-to-peer networks benefits consumers by offering easy access to a wide range of music for a low cost, at the same time enabling artists to reach out to a larger audience. Consumers are vital for the music industry, since they purchase the music. However, the fundamental aim of copyright is to reward copyright holders and function as an incentive to encourage creativity. Consequently, without economic rights the incentive to create is forfeit and music production might decrease. Even if the justification of copyright is primarily to protect creators of a work, it is also essential to emphasise the consumer aspect. Therefore it is of importance to balance the interests of all parties involved.
In order to uphold the purpose of copyright and interests of the general public, it is necessary to promote and develop more legal file sharing alternatives. Music in digital formats has to some extent replaced the traditional Compact Disc (CD) format. Therefore the music industry must cooperate with among others Internet Service Providers (ISPs) in order to embrace the digital developments of music and offer better solutions to consumers. Simultaneously, there is a lack of knowledge of copyright among the Swedish population, which is why more education is required. In conclusion, advertisement and education could decrease illegal file sharing and enhance all the parties’ interests.
Dagens fildelningsteknologi i peer-to-peer nätverk är genial. Peer-to-peer är nätverk bestående av flera sammankopplade datorer som möjliggör fildelning mellan användare. En betydande mängd av de delade filerna utgör dock olagliga kopior; uppladdning och nedladdning av sådana filer bryter mot upphovsrättslagstiftningen. Fildelning genom peer-to-peer nätverk är därför både genial teknologi och upphovsrättsintrång.
Peer-to-peer teknologin har väckt stor debatt i media, både nationellt och internationellt. Frågan kring illegal nedladdning av musik är ett internationellt dilemma eftersom musik är en global handelsvara. Sverige har kritiserats av organisationer som Recording Industry Association of America (RIAA) för att vara en frizon för fildelare. Tillgången till internet och bredband är väldigt hög i Sverige, vilket är en anledning till varför många svenskar fildelar. Det svenska företaget The Pirate Bay som använder sig av BitTorrent protokollet, är skapare till en av världens populäraste fildelningssajter. Webbsidan erbjuder gratis nedladdning av bland annat musik, film och programvara. I likhet med de flesta peer-to-peer nätverk innehåller The Pirate Bay’s hemsida upphovsrättsskyddat material som ofta har blivit tillgängliggjort utan upphovsrättshavarens medgivande. Till följd av detta har ett flertal organisationer och företag inom musik- och filmindustrin ingett en stämningsansökan mot The Pirate Bay.
The Pirate Bay är åtalade för medhjälp och förberedelse till brott mot upphovsrättslagen. I motsats till den amerikanska lagen om upphovsrätt innehåller inte den svenska upphovsrättslagen några uttryckliga bestämmelser rörande medhjälp till brott mot upphovsrätt. Upphovsrättslagen hänvisar istället till brottsbalken som stadgar att förberedelse och medverkan till brott är olagligt och straffbart. I dagsläget finns endast ett fåtal svenska rättsfall angående upphovsrättsintrång men inga fall kring medhjälp till upphovsrättsintrång. En bidragande faktor kan vara att rättsområdet ständigt ändras; upphovsrättslagstiftningen anpassas kontinuerligt till den tekniska utvecklingen. Bristen på svenska rättsfall leder till att upphovsrättslagens tillämpning blir oförutsägbar, vilket kan vara skadligt för rättsäkerheten. Internationella organisationer som exempelvis RIAA anser att den svenska upphovsrättslagen är ineffektiv och att ändringar behöver göras för att upprätthålla upphovsrättens grundläggande syfte.
Upphovsrätten är till viss del en harmoniserad lagstiftning ur ett globalt perspektiv. Eftersom internet och fildelning genom peer-to-peer nätverk är ett internationellt fenomen behöver upphovsrättslagen ytterligare harmonisering på ett internationellt plan. I dagsläget pågår en implementering av Europeiska Unionens (EU:s) sanktionsdirektiv som tillerkänner större rättigheter till upphovsrättshavare. Direktivet innehåller bestämmelser som förenklar möjligheten för rättighetshavare att vidta åtgärder mot personer som begår upphovsrättsintrång, vilket på sikt kan komma att bidra till en ökad mängd rättsfall. Sanktionsdirektivet har samtidigt kritiserats för att vara alltför långtgående och inskränker människors rätt till privatliv.
Fildelning genom peer-to-peer nätverk är förmånligt för konsumenter genom att utbudet av musik är stort, lättillgängligt och till en låg kostnad; samtidigt ger nätverken artister möjligheten att nå ut till en bredare publik. Konsumenter är nödvändiga för musikindustrin eftersom de inhandlar musiken. Dock är det viktigt att upprätthålla det fundamentala syftet med upphovsrätt, vilket är att ersätta upphovsrättshavaren för sitt verk och fungera som ett incitament till att stimulera skapade. Utan de ekonomiska rättigheterna skulle uppmuntran att skapa nya alster gå förlorad, och musikproduktionen skulle minska. Trots att upphovsrätten rättfärdigas genom att skydda rättighetshavare så är det även angeläget att understryka värdet av konsumenterna. Det är därför av stor vikt att balansera samtliga parters intressen.
Det är nödvändigt att marknadsföra och utveckla fler lagliga fildelningsalternativ för att upprätthålla upphovsrättens syfte och samhällets intresse. Digital musik har till viss del ersatt det traditionella Compact Disc (CD) formatet. Musikindustrin måste därför samarbeta med bland annat internetleverantörer för att ta till sig den digitala utvecklingen av musik och erbjuda bättre lösningar till konsumenter. För närvarade har den svenska befolkningen otillräckliga kunskaper inom upphovsrätt, varför mer utbildning behövs. Avslutningsvis, skulle marknadsföring och utbildning kunna bidra till en minskning av den illegala fildelningen och gynna alla parters intressen.
Ferrer, Damian Llopis. "Technology support for teaching music to kindergarten children". Thesis, University of Manchester, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509681.
Pełny tekst źródłaKamara, II Kalilu. "Music Artists' Strategies to Generate Revenue Through Technology". ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5358.
Pełny tekst źródłaOleksik, Gerard. "Music in the age of the Internet : an investigation into the relationship between music, music use and technology". Thesis, University of Surrey, 2007. http://epubs.surrey.ac.uk/718/.
Pełny tekst źródłaSideris, Nikolaos. "Music technology in contemporary concert hall music : Portfolio of musical compositions and accompanying commentary". Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531328.
Pełny tekst źródłaRege, Karen M. "An examination of music technology requirements for undergraduate performance majors". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 110 p, 2008. http://proquest.umi.com/pqdweb?did=1757060791&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
Pełny tekst źródłaKsiążki na temat "Music and technology"
Hilvert, John. Music technology. North Mankato, Minn: Smart Apple Media, 2006.
Znajdź pełny tekst źródłaNewquist, H. P. Music & technology. New York: Billboard Books, 1989.
Znajdź pełny tekst źródłaMazzola, Guerino, Yan Pang, William Heinze, Kyriaki Gkoudina, Gian Afrisando Pujakusuma, Jacob Grunklee, Zilu Chen, Tianxue Hu i Yiqing Ma. Basic Music Technology. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00982-3.
Pełny tekst źródłaWilliams, David Brian. Experiencing music technology. Wyd. 3. Belmont, CA: Cengage Learning, 2008.
Znajdź pełny tekst źródłaWilliams, David Brian. Experiencing music technology. Wyd. 3. Belmont, CA: Cengage Learning, 2008.
Znajdź pełny tekst źródłaWilliams, David Brian. Experiencing music technology. Wyd. 3. Belmont, CA: Thomson, Schirmer, 2006.
Znajdź pełny tekst źródłaNational Radio Institute (Washington, D.C.), red. Electronic music technology. Washington, D.C: McGraw-Hill Continuing Education Center, 1988.
Znajdź pełny tekst źródłaWilliams, David Brian. Experiencing music technology. Wyd. 3. Belmont, CA: Thomson, Schirmer, 2006.
Znajdź pełny tekst źródłaGrandmont, John. Music and technology. [Toronto]: Ontario Ministry of Education, 1990.
Znajdź pełny tekst źródłaFairholm, Brian. Classroom technology, music. [Victoria, BC]: Province of British Columbia, Ministry of Education, Resources Branch, 1990.
Znajdź pełny tekst źródłaCzęści książek na temat "Music and technology"
Smith, Neil, i Jenni Smith. "Music Technology". W Technology for SEND in Primary Schools: A Guide for Best Practice, 55–67. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: Learning Matters, 2017. http://dx.doi.org/10.4135/9781529714470.n5.
Pełny tekst źródłaLampl, Kenneth. "Technology and Creativity". W Film Music, 82–96. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003289722-7.
Pełny tekst źródłaMores, Robert. "Music Studio Technology". W Springer Handbook of Systematic Musicology, 221–58. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_12.
Pełny tekst źródłaCornelius, Steven, i Mary Natvig. "Music and Technology". W Music a Social Experience, 293–308. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315222868-17.
Pełny tekst źródłaCornelius, Steven, i Mary Natvig. "Music and Technology". W MusicA Social Experience, 333–53. Wyd. 3. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003155812-19.
Pełny tekst źródłaSnoman, Rick. "Recording Technology". W Dance Music Manual, 305–14. Wyd. 5. London: Focal Press, 2024. http://dx.doi.org/10.4324/9781032646848-28.
Pełny tekst źródłaMaz, Andrew. "Computer Music Notation". W Music Technology Essentials, 193–207. London: Focal Press, 2023. http://dx.doi.org/10.4324/9781003345138-11.
Pełny tekst źródłaFels, Sidney, i Michael Lyons. "Interaction and Music Technology". W Human-Computer Interaction – INTERACT 2011, 691–92. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23768-3_118.
Pełny tekst źródłaCano, Estefanía, Christian Dittmar, Jakob Abeßer, Christian Kehling i Sascha Grollmisch. "Music Technology and Education". W Springer Handbook of Systematic Musicology, 855–71. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_41.
Pełny tekst źródłaStefanic, Nick. "The Music Technology Class". W The Learner-Centered Music Classroom, 161–81. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429261510-10.
Pełny tekst źródłaStreszczenia konferencji na temat "Music and technology"
Nusantara, Henri, Iwan Gunawan i Agus Budiman. "Music Technology". W 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.005.
Pełny tekst źródłaTóth-Bakos, Anita. "MUSIC EDUCATION AND MUSIC THERAPY". W International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/inted.2016.0135.
Pełny tekst źródłaLassauniere, A., G. E. Tewkesbury, D. A. Sanders, J. Marchant i A. Close. "A new music technology system to teach music". W Proceedings 25th EUROMICRO Conference. Informatics: Theory and Practice for the New Millennium. IEEE, 1999. http://dx.doi.org/10.1109/eurmic.1999.794758.
Pełny tekst źródłaCalegario, Filipe, Giordano Cabral i Geber Ramalho. "MusTIC: Research and Innovation Group on Music, Technology, Interactivity and Creativity". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10441.
Pełny tekst źródłaTóth-Bakos, Anita, i Agáta Csehiová. "MUSIC AND BRAIN – MUSIC TRAINING TRANSFER". W International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/inted.2016.0136.
Pełny tekst źródłaLiu, Jie, i Liang Liang. "The Application of Computer Music Technology in Music Education". W 2021 IEEE Asia-Pacific Conference on Image Processing, Electronics and Computers (IPEC). IEEE, 2021. http://dx.doi.org/10.1109/ipec51340.2021.9421234.
Pełny tekst źródłaHyde, Joseph. "Tracing Music Technology to its Interdisciplinary Roots". W Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/tracingmusic.
Pełny tekst źródłaRuan Qionggang. "Application and research on digital music technology in music teaching". W 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5375272.
Pełny tekst źródłaCheng, Yun. "Music Information Retrieval Technology: Fusion of Music, Artificial Intelligence and Blockchain". W 2020 3rd International Conference on Smart BlockChain (SmartBlock). IEEE, 2020. http://dx.doi.org/10.1109/smartblock52591.2020.00033.
Pełny tekst źródłaEtinger, Darko. "A Task-Technology Fit Model for Digital Audio Workstations Evaluation". W Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002867.
Pełny tekst źródłaRaporty organizacyjne na temat "Music and technology"
Gupta, Ravi, i Ignacio L. De León. The Impact of Digital Innovation and Blockchain on the Music Industry. Inter-American Development Bank, listopad 2017. http://dx.doi.org/10.18235/0007978.
Pełny tekst źródłaNucera, Diana J., i Catalina Vallejo. Media-making Pedagogies for Empowerment & Social Change: An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, luty 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.
Pełny tekst źródłaDi Campli San Vito, Patrizia, Stephen Brewster, Satvik Venkatesh, Eduardo Miranda, Alexis Kirke, David Moffat, Sube Banerjee, Alex Street, Jorg Fachner i Helen Odell-Miller. RadioMe: Supporting Individuals with Dementia in Their Own Home... and Beyond? CHI '22 Workshop - Designing Ecosystems for Complex Health Needs, 2022. http://dx.doi.org/10.36399/gla.pubs.267520.
Pełny tekst źródłaKiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn i Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], lipiec 2021. http://dx.doi.org/10.31812/123456789/4629.
Pełny tekst źródłaMcIntyre, Phillip, Susan Kerrigan i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.
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