Rozprawy doktorskie na temat „Music audiences”
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Redhead, Tracy. "Interactive music formats : will audiences interact?" Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/80881/4/Tracy_Redhead_Thesis.pdf.
Pełny tekst źródłaZaborowski, Rafal. "Audible audiences : engaging with music in Japan". Thesis, London School of Economics and Political Science (University of London), 2015. http://etheses.lse.ac.uk/3219/.
Pełny tekst źródłaLee, Erin Gilligan. "New Audiences for New Music: A Study of Three Contemporary Music Ensembles". University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1240423668.
Pełny tekst źródłaLee, Erin. "New audiences for new music a study of three contemporary music ensembles /". Akron, OH : University of Akron, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1240423668.
Pełny tekst źródła"May, 2009." Title from electronic thesis title page (viewed 8/1/2009) Advisor, Durand Pope; Faculty Readers, Neil Sapienza, George Pope; School Director, Neil Sapienza ; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.
Emanski, Julianna. "Early Music Audiences: A Survey and Analysis of Early Music Consumers in Texas". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707272/.
Pełny tekst źródłaHearn, Lucinda J. "Wild release: Making albums for audiences in a short-form economy". Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/117287/2/Lucinda%20Hearn%20Thesis.pdf.
Pełny tekst źródłaDilokkunanant, Komsun. "Strategies for classical music audiences: an exploration of existing practices used by western European art music organizations". Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6937.
Pełny tekst źródłaFreeman, Cole. "Educating American Audiences: Claire Reis and the Development of Modern Music Institutions, 1912-1930". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500034/.
Pełny tekst źródłaLee, Sang Won. "Audience participation using mobile phones as musical instruments". Thesis, Georgia Institute of Technology, 2012. http://hdl.handle.net/1853/44749.
Pełny tekst źródłaCarter, Danielle Catherine. "Envisaged, invited and actual audiences: A new model to approach audience research in Australian community-engaged performance projects". Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127464/1/Danielle_Carter_Thesis.pdf.
Pełny tekst źródłaBrüggemann, Sophie [Verfasser], i Lorenz [Akademischer Betreuer] Welker. "Parsing consumption preferences of music streaming audiences : through concatenating data analytics / Sophie Brüggemann ; Betreuer: Lorenz Welker". München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2020. http://d-nb.info/1218465514/34.
Pełny tekst źródłaXie, Lingli. "Exploring the intersection of translation and music : an analysis of how foreign songs reach Chinese audiences". Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22010.
Pełny tekst źródłaPearce, Kevin (Conductor). "A Descriptive Study of the Musical Backgrounds of Orchestral Concert Attendees, with an Emphasis on Past Participation in School Music Programs". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505209/.
Pełny tekst źródłaBroughton, Mary C. "Music, movement and marimba : solo marimbists' bodily gesture in the perception and production of expressive performance". Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/33189.
Pełny tekst źródłaNguyen, Hang Thi Tuyet. "Audiences’ engagement with Twitter and Facebook Live during classical music performances: community and connectivity through live listening experiences". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6618.
Pełny tekst źródłaBlue, Kevin J. "In/retrospection : an interactive audiovisual composition for ten-piece orchestra, electronically manipulated audio, and video". Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1365789.
Pełny tekst źródłaSchool of Music
Padua, Daniel A. "The Family 'Playlist': Popular music, age and identity". Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/110533/1/Daniel_Padua_Thesis.pdf.
Pełny tekst źródłaBroughton, Mary C. "Music, movement and marimba solo marimbists' bodily gesture in the perception and production of expressive performance /". View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/33189.
Pełny tekst źródłaA thesis presented to the University of Western Sydney, College of Arts, School of Psychology, in fulfilment of the requirements for the degree of . Includes bibliographies.
Stanley, R. M. "A formative force : the BBC's role in the development of music and its audiences in Northern Ireland 1924-39". Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546441.
Pełny tekst źródłaPrice, Sarah M. "Risk and reward in classical music concert attendance : investigating the engagement of 'art' and 'entertainment' audiences with a regional symphony orchestra in the UK". Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/16628/.
Pełny tekst źródłaJones, Natalie. "Lost in Translation : To what extent can sign language be used to translate the meaning of the text for hearing audiences in classical vocal music?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3625.
Pełny tekst źródłaThe sounding part of the work consists of the following recording: NJones100619. The Corona virus situation spring semester 2020 has caused limitations in the recording possibilities. The recording may be supplemented.
de, Bruyn Moreira Annis. "Master's Thesis - Welcome to the Shed". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23206.
Pełny tekst źródłaCollie, Hazel. "Television for women : generation, gender and the everyday". Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10478.
Pełny tekst źródłaClarke, Jennifer 1974. "The effect of digital technology on late 20th century and early 21st century culture [electronic resource] / by Jennifer Clarke". University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
Pełny tekst źródłaDocument formatted into pages; contains 65 pages
Thesis (M.L.A.)--University of South Florida, 2003.
Includes bibliographical references.
Text (Electronic thesis) in PDF format.
ABSTRACT: Recently, artists have begun using digital technology to create new cultural forms in the fields of art, literature, and music, and a new cultural form known as interactive digital multimedia has emerged, which combines elements from the new artistic, literary, and musical forms. Many of these artists have produced works that explore the interactive capabilities of digital technology. These interactive digital cultural forms have encouraged collaborative efforts that would have otherwise been difficult or even impossible to achieve before the advent of digital technology. In addition, this element of interactivity has redefined the traditional relationship between artist and audience. As the line between creator and consumer becomes increasingly blurred in interactive digital cultural forms, it becomes necessary to use terms such as "source artist" and "mix artist" to better define this new artist/audience relationship.
ABSTRACT: Postmodern theorists such as Roland Barthes and Michel Foucault anticipate this new artist/audience relationship in their writings. More recent theorists, such as Margot Lovejoy, George Landow, and Paul Théberge, writing after the advent of digital technology, have suggested that interactive digital cultural forms and the changing nature of the artist/audience relationship present opportunities for cultural creation and participation that extend the opportunities afforded by traditional artistic production and consumption. Works such as the As Worlds Collide website, Stuart Moulthrop's Victory Garden, the music of the Chemical Brothers, and Peter Gabriel's multimedia CD-ROM EVE are examples of these new interactive digital cultural forms. These works present navigable constructs (often incorporating elements culled from other source artists) that can be experienced and "re-mixed" by subsequent mix artists who choose to interact with these works.
ABSTRACT: The increased agency provided by these interactive works brings with it new responsibilities for both the source artist and the mix artist. By encouraging collaboration and experimentation, redefining the artist/audience relationship, and expanding the responsibilities of the source artist and the mix artist, interactive digital media extend the possibilities for cultural creation and participation. As digital technology develops, so do the opportunities for cultural development among society as a whole.
System requirements: World Wide Web browser and PDF reader.
Mode of access: World Wide Web.
Clarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture". [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
Pełny tekst źródłaXIAO, DAXIN. "Enhancing audience experience on Live music". Thesis, Uppsala universitet, Människa-datorinteraktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-362615.
Pełny tekst źródłaZubeck, Stella. "Not Fade Away : Enriching Music Festival Audience Experience". Research Showcase @ CMU, 2014. http://repository.cmu.edu/theses/77.
Pełny tekst źródłaLegaspi, Melissa M. "Gender Role Identity and Audience Perceptions of Music Videos". Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/communication_theses/9.
Pełny tekst źródłaTarrant, Patrick Anthony. "Documentary practice in a participatory culture". Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/26975/1/Patrick_Tarrant_Thesis.pdf.
Pełny tekst źródłaTarrant, Patrick Anthony. "Documentary practice in a participatory culture". Queensland University of Technology, 2008. http://eprints.qut.edu.au/26975/.
Pełny tekst źródłaLindblom, Shari. "Audience connectivity in orchestral performances". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/20533/1/Shari_Lindblom_Thesis.pdf.
Pełny tekst źródłaLindblom, Shari. "Audience connectivity in orchestral performances". Queensland University of Technology, 2009. http://eprints.qut.edu.au/20533/.
Pełny tekst źródłaSumner, Lott Marie. "Audience and style in nineteenth-century chamber music, c. 1830 to 1880 /". Digitized version, 2008. http://hdl.handle.net/1802/7668.
Pełny tekst źródłaIncludes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7668
Godinho, José Carlos David Nunes. "Audience-listening and audience-performing : a study of the effect of context on mental representation of music". Thesis, UCL Institute of Education (IOE), 2000. http://eprints.ioe.ac.uk/19236/.
Pełny tekst źródłaOlsson, Per. "”Ni på sittplats, är ni klara?” : Ett arbete om musikens påverkan på en ishockeypublik". Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1658.
Pełny tekst źródłaThe question formulation for this work has been "is an ice-hockey audience influenced by music during time-outs in a game?". The method was to observe one period with Färjestads BK and Mora IK, but a recording was also made, together with a conversation with the arena DJ. From the recording, the audience reactions were graded from a given scale. The grades were compilated to a diagram that shows the audience reactions in relation to the time, from the first face-off to the final whistle. From the diagram, one can see the connections between the audience reactions and the music. During the observation, all important incidents were noted so that potential connections could be made. Any influence on the audience by the music could not ascertain with this method. Finally, it could be ascertained that if a better picture of the reality is wanted, it will demand more observations and records of more games, as this work only analyses one period in one game.
Rahal, Crawford Christine. "Effects of exposure to virtual audience environments on performing musicians". Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103538.
Pełny tekst źródłaCette recherche avait comme objectif de déterminer si des expositions répétées à un auditoire virtuel (réalité virtuelle) pouvait désensibiliser des musiciens souffrant d'anxiété de performance à jouer devant un auditoire réel. Seize étudiants en musique de niveau universitaire ont participé à la recherche. Ils ont participé à deux concerts devant des auditoires réels, à titre de prétest et de postest. Chaque participant fut assigné soit au groupe de contrôle ou au groupe exposé à l'auditoire virtuel. Les étudiants exposés à la réalité virtuelle ont joué une fois semaine pour un total de cinq sessions durant lesquelles les fréquences cardiaques et les taux de cortisol furent mesurés. Un questionnaire d'auto évaluation sur l'anxiété (State Anxiety inventory (SAI)) fut également administré. Les concerts furent enregistrés et évalués à l'aveugle par deux musiciens professionnels. Le questionnaire d'auto évaluation sur l'anxiété (SAI) et le questionnaire sur l'anxiété de performance (Performance Anxiety Inventory (PAI)) furent administrés. Les résultats ont démontré que les sessions de réalité virtuelle ont engendré de l'anxiété chez les participants, tel qu'indiqués par les taux de cortisol. Par ailleurs, les deux groupes ont eu des scores plus bas sur le questionnaire de l'anxiété de performance (PAI) lors du concert de contrôle (postest). Les résultats semblent suggérer que l'exposition à la réalité virtuelle n'a pas aidé les musiciens avec l'anxiété de performance.
Anderson, Lauren. "Investigating audience responses to popular music in contemporary romantic comedy films". Thesis, Aberystwyth University, 2009. http://hdl.handle.net/2160/cc4ece5f-c1df-4198-be56-c7afb3067dcb.
Pełny tekst źródłaZamorano, Yerai. "Performer-initiated and audience- controlled interaction effects in live-streamed music events". Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-294143.
Pełny tekst źródłaTrots att livestreamade musikevenemang har ökat i popularitet de senaste åren har det inte gjorts mycket forskning angående vilken inverkan interaktioner som utvecklas under evenemanget har på publikens användarupplevelse. Denna avhandling fokuserar på effekterna som en viss artistinitierad och publikstyrd interaktivitet, som att kunna rösta fram nästa låt, har under musikevenemanget. Användarstudien följde en experimentell mellangruppsdesign för att undersöka konsekvenserna av denna interaktion med hjälp av en prototyp för mobiltelefon med två olika varianter som skiljer sig åt i tillgänglig interaktivitetsnivå, från omröstning till att omröstning utesluts. Datainsamlingen bestod av halvstrukturerade intervjuer och demografiska och UEQ-frågeformulär. Resultaten visade att inkluderingen av interaktivitet hade en positiv inverkan på publikens upplevelse. Dessutom fick den interaktiva upplevelsen märkbart bättre resultat i UEQ-analysen och upplevdes betydligt mer motiverande och engagerande än det mindre interaktiva eventet. Insikter från intervjuerna bekräftade dessa resultat. De flesta deltagare uttryckte ett intresse för upplevelsen och en vilja att upprepa det i framtiden.
Hill, Andrew. "Interpreting electroacoustic audio-visual music". Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/9898.
Pełny tekst źródłaStavrides, Michael G. "The interaction of audience-listening and composing : a study in Cyprus schools". Thesis, University College London (University of London), 1995. http://discovery.ucl.ac.uk/10006589/.
Pełny tekst źródłaLehmann, Matthias. "„Für wen spielt die Musik?“". Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-86926.
Pełny tekst źródłaMcKenna, Libby. "Audience interpretations of the representation of women in music videos by women artists". [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001670.
Pełny tekst źródłaSingle, Nancy Ann. "An arts outreach/audience development program for schools of music in higher education". The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392911317.
Pełny tekst źródłaOberlander, Erin Marissa. "Reaching Arcadia: Rural and Agricultural Themes in Vocal Art Music including Plans to Introduce this Music to a Rural Audience". Diss., North Dakota State University, 2011. https://hdl.handle.net/10365/29768.
Pełny tekst źródłaForce, Kristin Alicia. "La Monte Young, Terry Riley, Steve Reich, and Philip Glass: The evolution of minimalism and audience response". Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26636.
Pełny tekst źródłaFrantz, Elizabeth Lorraine. "Is Technology the Way Forward for Classical Music? Exploring Audience Engagement in the Digital Era". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429625667.
Pełny tekst źródłaSmialek, Eric. "Rethinking metal aesthetics: complexity, authenticity, and audience in Meshuggah's «I» and «Catch Thirtythr33»". Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32597.
Pełny tekst źródłaLa complexité inhabituelle de deux enregistrements récents du groupe métal extrême Meshuggah a entraîné un profond schisme parmi les fans, offrant ainsi l'opportunité de reconsidérer certaines conceptions courantes concernant l'esthétique métal ainsi que de raffiner la compréhension du goût et de la démographie sociale. Durant vingt-et-une et quarante-sept minutes respectivement, I (2004) et Catch Thirtythr33 (2005) ont surpris les fans par leur durée inhabituelle (les deux enregistrements étant chacun considérés par le groupe comme chansons individuelles), leur écriture complexe et, avec Catch Thirtythr33, l'utilisation programmée de la batterie. En réponse aux questions des intervieweurs concernant chacun de ces trois facteurs, les membres de Meshuggah ont mis de l'avant des affirmations qui ont été bien reçues parmi les fans et les journalistes de rock mais qui semblent cependant aller à l'encontre de leurs pratiques compositionnelles habituelles, contredisant même, parfois, certaines de leurs affirmations antérieures. Cette thèse examine ces contradictions et ce que celles-ci impliquent dans la façon que varient les concepts d'authenticité et des valeurs esthétiques présents dans les discours sur le métal, utilisant des concepts issus de la théorie critique, de l'analyse musicale, ainsi que de la sociologie. En mettant en lumière les diverses valeurs esthétiques existant dans ces discours, je voudrais ici démontrer qu'il existe une alternative aux modèles traditionnels des fans du métal se basant sur la classe sociale et qui rendra compte de la diversité des valeurs esthétiques que l'on retrouve parmi le public du métal de c
Lüneburg, Barbara. "A holistic view of the creative potential of performance practice in contemporary music". Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7512.
Pełny tekst źródłaMurphy, Michael J. "Methodology for the production and delivery of generative music for the personal listener : systems for realtime generative music production". Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/9737.
Pełny tekst źródłaBurgess, Jean E. "High Culture as Subculture : Brisbane's Contemporary Chamber Music Scene". Thesis, The University of Queensland, 2004. https://eprints.qut.edu.au/28527/1/28527.pdf.
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