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Artykuły w czasopismach na temat "Music practice"
Sandgren, Maria. "How modes of instrumental practice are distributed in three musical genres and among vocalists and instrumentalists at music colleges". Psychology of Music 47, nr 5 (10.04.2018): 767–78. http://dx.doi.org/10.1177/0305735618765299.
Pełny tekst źródłaCritchfield, Jared B. "Practice Rooms and Practice Fields: Connections in Character Development". Music Educators Journal 107, nr 4 (czerwiec 2021): 35–41. http://dx.doi.org/10.1177/00274321211012447.
Pełny tekst źródłaSyafa, Muhammad Fachmi, i Sri Murlianti. "Reggae Music Community Practice in The City of Bontang (Descriptive Study of Bontang Reggae Community)". Progress In Social Development 1, nr 2 (6.07.2020): 23–31. http://dx.doi.org/10.30872/psd.v1i2.21.
Pełny tekst źródłaGuilbault, Jocelyne. "Interpreting world music: a challenge in theory and practice". Popular Music 16, nr 1 (styczeń 1997): 31–44. http://dx.doi.org/10.1017/s0261143000000684.
Pełny tekst źródłaSaputra, Wahyu Eka, i Agusti Efi. "GAYA BELAJAR AURAL PLAY DI YAMAHA MUSIK PADANG". Gorga : Jurnal Seni Rupa 8, nr 2 (22.11.2019): 378. http://dx.doi.org/10.24114/gr.v8i2.15420.
Pełny tekst źródłaDEMEYERE, EWALD. "ON BWV1080/8: BETWEEN THEORY AND PRACTICE". Eighteenth Century Music 4, nr 2 (wrzesień 2007): 291–99. http://dx.doi.org/10.1017/s1478570607000966.
Pełny tekst źródłaMahon. "Music, Power, and Practice". Ethnomusicology 58, nr 2 (2014): 327. http://dx.doi.org/10.5406/ethnomusicology.58.2.0327.
Pełny tekst źródłaBERGER, JOY S. "Music for Your Practice". Home Healthcare Nurse: The Journal for the Home Care and Hospice Professional 21, nr 1 (styczeń 2003): 25–30. http://dx.doi.org/10.1097/00004045-200301000-00006.
Pełny tekst źródłaWoody, Robert Henley. "Obsessive – Compulsive Music Practice". American String Teacher 50, nr 2 (maj 2000): 116. http://dx.doi.org/10.1177/000313130005000222.
Pełny tekst źródłaDovgiy, I. L. "MUSIC THERAPY IN NEUROLOGICAL PRACTICE". East European Journal of Parkinson`s Disease and Movement Disorders 4, nr 1-2 (30.06.2018): 10–19. http://dx.doi.org/10.33444/2414-0007.4.1-2.10-19.
Pełny tekst źródłaRozprawy doktorskie na temat "Music practice"
Veblen, Nora Bryant. "MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE". UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/129.
Pełny tekst źródłaStolp, Mareli. "Contemporary performance practice of art music in South Africa : a practice-based research enquiry". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71885.
Pełny tekst źródłaSensitive areas within this text have been blacked out. Please refer to the attachment.
ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing on contemporary interpretations of the theories of phenomenology articulated by Edmund Husserl and Maurice Merleau-Ponty, my position as a performer of art music in South Africa and the personal experiences I have had as a practitioner within this art practice are interrogated. While I was involved in a variety of practical engagements during the course of this study, all of which have contributed on some level to the final research product, the research design comprised five 'performance projects' that were designed to interrogate specific issues in contemporary art music performance practice in South Africa. The knowledge gained through these performance projects are presented together with theoretical work in this dissertation. An attempt is made to explicate these subjective experiences gained through practice and interrogate them through the application of social theory, ultimately translating them into an objective research outcome which is presented discursively. In this sense, the research project is approached according to a two-pronged strategy: subjective experiences generated through practice are examined through the use of social theory, ultimately resulting in a discursively articulated research outcome. I suggest in this dissertation that art music practice in contemporary South Africa has been and has remained a cultural territory largely inhabited by white South Africans. I further argue that this practice has shown little transformation since the end of apartheid in South Africa, in spite of the political, social and cultural transformation that has characterized the country since the beginning of democracy in 1994. Drawing on the theories of Homi Bhabha and Regula Qureshi, I posit that contemporary art music performance practice is providing an ideological counter-environment to predominant socio-cultural realities in post-apartheid South Africa. Qureshi suggests that the art music practice of a society 'constitutes a meaningful, cultural world for those who inhabit it'(Qureshi 2000: 26). Such a 'world within a society' is here interpreted as providing a counter-environment within which white South African identity can be articulated, negotiated and propagated.
AFRIKAANSE OPSOMMING: In hierdie proefskrif ondersoek ek die uitvoeringspraktyk van kontemporêre kunsmusiek in Suid-Afrika en die sosiale funksie wat dit vervul. Uitvoeringspraktyk word in hierdie studie geïnterpreteer as ‘n kunspraktyk of kulturele item wat uit drie 'rol-spelers' bestaan: uitvoerders van kunsmusiek, komponiste van werke in die kunsmusiek genre en gehore wat kunsmusiek assimileer en daarop reageer wanneer hierdie werke uitgevoer word. My eie posisie as uitvoerende kunstenaar het gelei tot die navorsingsvrae en navorsingsprobleme wat hierdie studie informeer. As sulks neem hierdie studie die vorm aan van ‘n praktyk-gebasseerde navorsingsstudie. Praktyk-gebasseerde navorsing is ‘n ontwikkelende soort navorsing wat internasionaal toenemend beoefen word. Hierdie studie is een van die eerste Suid-Afrikaanse voorbeelde van hierdie tipe navorsing in musiek. Die fenomenologiese teorieë van Edmund Husserl en Maurice Merleau-Ponty is gebruik om my persoonlike ervarings as uitvoerder van oorwegend kunsmusiek in Suid-Afrika te kontekstualiseer. My betrokkenheid by verskeie praktiese projekte gedurende die studietydperk, sowel as vyf praktiese projekte wat spesifiek vir die doeleindes van hierdie studie onderneem is, het deurgaans die studie geïnformeer. Hierdie projekte is aangepak om die bestudering van spesifieke aspekte van Suid-Afrikaanse uitvoeringspraktyk van kunsmusiek te fasiliteer. Die kennis wat deur middel van die praktiese werk ingewin is, is deurgaans in hierdie proefskrif met teoretiese werk versterk. Daar is gepoog om die subjektiewe ervarings van die uitvoerder aan te vul deur die toepassing van sosiale toerie, met die uiteindelike doel om hierdie ervarings in ‘n objektiewe en diskursief-artikuleerbare navorsingsresultaat te omskep. Die navorsing in hierdie proefskrif volg dus ‘n tweeledige benadering: subjektiewe, persoonlike ervarings wat deur praktyk gegenereer word, word deur middel van sosiale teorie benader, wat lei tot die uiteindelike navorsingsresultaat soos in die proefskrif aangebied. Ek stel dit in hierdie proefskrif dat kunsmusiekpraktyk in kontemporêre Suid-Afrika min bewyse van transformasie toon, ten spyte van die veranderende politiese- en sosio-kulturele omstandighede in Suid-Afrika sedert 1994. Dié praktyk word steeds gekenmerk deur deelname en ondersteuning vanuit die wit bevolkingsgroep. Die teorieë van Homi Bhabha en Regula Qureshi word gebruik om die argument te onderskryf dat kontemporêre kunsusiekpraktyk ‘n omgewing skep wat dien as ideologiese teenpool vir die sosio-kulturele realiteite van Suid-Afrika vandag. Qureshi is van mening dat ‘n gemeenskap se kunsmusiekpraktyk ‘n 'betekenisvolle, kulturele wereld skep vir die wat dit bewoon' (Qureshi 2000: 26). Hierdie 'wereld binne ‘n gemeenskap' word in hierdie proefskrif vertolk as ‘n 'ideologiese teen-omgewing' waarvandaan wit Suid-Afrikaanse identiteit geartikuleer, onderhandel en bevorder kan word.
Weaver, Jeffery L. "The Role of Goals and Practice Steps in Piano Practice Assignments". Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1124721584.
Pełny tekst źródłaChantler, John. "No Such Array : Developing a material and practice for electronic music performance". Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4170.
Pełny tekst źródłaVogelgesang, Anna Ruye. "An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes". Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.
Pełny tekst źródłaStuart, Greg. "A percussionist's practice". Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3355798.
Pełny tekst źródłaTitle from first page of PDF file (viewed July 1, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 125-129.
Belletti, Anthony. "Trumpet Practice| Habits and Goals". Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262372.
Pełny tekst źródłaWhile spending many hours of vigorous practice, it is possible for trumpet musicians to develop bad habits which inhibit growth and discourage their inspiration. In a trumpet player’s daily life, their constant goal is to sound better in their practice routines than the day before. However, without setting realistic goals and dream goals, reaching a level of perfection can be daunting and many fundamental problems may occur such as lipping, tension, or insufficient air flow. Applying goals to everyday practice is essential for the fundamental and musical development of an aspiring trumpet player. According to Claude Gordon, practice should always be done with a goal in mind, just like constructing a tall building. First you dig the trenches. Next the forms are built. Then the cement is poured followed by the floors, sides and finally the roof. Too many students try putting the roof on before the foundation is built.
By examining the many fundamental problems trumpet players potentially face every day, I will express how to efficiently tackle these obstacles by describing how to install good practice habits while having a desired goal in mind. Second, I will discuss how humans are creatures of habit and how it effects daily practice. Alva Noe describes habits as environmental, in the sense that they are triggered by outside forces and they vanish in the absence of the appropriate environmental setting. In the case of practicing, a novice trumpet player might only practice in preparation for an event, instead of maintaining their skills every day. The methodology of trumpet pedagogy and educational studies will supply evidence-based theories on practice and observation, which will illustrate how habits and goal setting effects trumpet routines. I will also partake in field work by practicing and analyzing different trumpet method books.
DelGizzi, Jesse D. "Zydeco Aesthetics| Instrumentation, Performance Practice, and Sound Engineering". Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10816360.
Pełny tekst źródłaThis thesis examines aesthetics, sonic characteristics, and performance practices of zydeco music as heard in south Louisiana today. The first chapter describes the roles of instruments in a zydeco band, focusing specifically on the importance of the kick drum and the snare drum. It also details the evolution of the modern zydeco sound and how certain instruments, their modifications, and their timbres came to characterize the style especially prevalent among a group of artists who play for zydeco trail rides. The second chapter examines the tempo of modern zydeco music through quantitative analysis of musical recordings. This chapter also elucidates the use of beat patterns and drumming techniques within the genre, providing evidence for a current preference for the boogaloo beat over the on-the-one and the double beats. The third chapter discusses sonic goals and values of the sound engineer in zydeco music in live performance. This chapter also includes analysis of the frequency spectrum profiles of live zydeco recordings which depict how sound reinforcement practices, instrument modifications, and playing techniques discussed in the thesis are manifested in these performances. Research methods employed for this thesis include interviews with zydeco musicians, empirical analysis of live musical recordings, and examination of spectrograms.
Hu, Shu-Chen 1968. "How to Practice in an Efficient Way". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935617/.
Pełny tekst źródłaShave, Thomas. "Hybridism : a practice-led investigation". Thesis, Keele University, 2013. http://eprints.keele.ac.uk/195/.
Pełny tekst źródłaKsiążki na temat "Music practice"
Julian, Webb, i Associated Board of the Royal Schools of Music., red. Music theory in practice. London: Associated Board ofthe Royal Schools of Music, 1993.
Znajdź pełny tekst źródłaPractice in music theory. Wyd. 2. Singapore: Music Plaza, 1994.
Znajdź pełny tekst źródłaPractice in music theory. Singapore: Music Plaza, 1990.
Znajdź pełny tekst źródłaJulian, Webb, i Associated Board of the Royal Schools of Music., red. Music theory in practice. London: Associated Board of the Royal Schools of Music, 1993.
Znajdź pełny tekst źródłaRenaissance music. Farnham, Surrey, England: Ashgate, 2011.
Znajdź pełny tekst źródłaMedieval music. Farnham, Surrey, England: Ashgate Pub Ltd, 2011.
Znajdź pełny tekst źródłaMusica practica: The social practice of Western music from Gregorian chant to postmodernism. London: Verso, 1994.
Znajdź pełny tekst źródłaMayer, Brown Howard, i Sadie Stanley, red. Performance practice: Music before 1600. Basingstoke, Hampshire: Macmillan Press, Music Division, 1989.
Znajdź pełny tekst źródłaThe practice of practice. [Chicago, Illinois]: Sol UT Press, 2014.
Znajdź pełny tekst źródłaEngelke, Ulrike. Musik und Sprache: Interpretation der Musik des Frühbarock nach überlieferten Regeln = Music and language : interpretation of early Baroque music according to traditional rules. Zürich: Pan AG, 1990.
Znajdź pełny tekst źródłaCzęści książek na temat "Music practice"
kydd, Elspeth. "Film Music". W The Critical Practice of Film, 208–25. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_10.
Pełny tekst źródłaAnthony, Brendan. "Practice-based pedagogical applications". W Music Production Cultures, 180–86. London: Focal Press, 2022. http://dx.doi.org/10.4324/9781003055099-18.
Pełny tekst źródłaKatsos, John E. "Practice reflecting theory". W Music, Business and Peacebuilding, 261–71. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003017882-17.
Pełny tekst źródłaHughes, Diane, Mark Evans, Guy Morrow i Sarah Keith. "The Realities of Practice". W The New Music Industries, 81–96. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40364-9_5.
Pełny tekst źródłaDileo, Cheryl, i Joke Bradt. "A perspective on evidence-based practice". W Music that works, 105–8. Vienna: Springer Vienna, 2009. http://dx.doi.org/10.1007/978-3-211-75121-3_5.
Pełny tekst źródłaAnthony, Brendan. "Music production skills and creative practice". W Music Production Cultures, 19–33. London: Focal Press, 2022. http://dx.doi.org/10.4324/9781003055099-3.
Pełny tekst źródłaTheorell, Töres, i Fredrik Ullén. "Music Practice and Emotion Handling". W Music and Public Health, 55–67. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76240-1_4.
Pełny tekst źródłaStevenson, Ian, John Encarnacao i Eleanor McPhee. "Expanded practice". W Teaching and Evaluating Music Performance at University, 167–79. [1.] | New York : Routledge, 2020. | Series: ISME global perspectives: Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-12.
Pełny tekst źródłaGillam, Tony. "Music and Mental Health Practice". W Creativity, Wellbeing and Mental Health Practice, 87–100. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-74884-9_6.
Pełny tekst źródłaAmans, Diane. "Suggestions for Music". W An Introduction to Community Dance Practice, 209–10. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-05623-8_25.
Pełny tekst źródłaStreszczenia konferencji na temat "Music practice"
Zubareva, Elena Aleksandrovna. "Music. Folklore. Ecology". W IX International Research-to-practice conference. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-117587.
Pełny tekst źródłaMelnychuk, Ekaterina Alexandrovna. "Effect of music competitions on pieces of music interpretation by students". W IX International Research-to-practice Conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-112729.
Pełny tekst źródłaMadden, Gerard Breaden, i Hans-Christian Jabusch. "Regulating functional and hedonic emotions in the pursuit of musical practice goals". W Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0020.
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 źródłaSopchoke, Sirawit, Ken-ichi Fukui i Masayuki Numao. "Bisociative Serendipity Music Recommendation". W Seventh Workshop on Computation: Theory and Practice, WCTP 2017. WORLD SCIENTIFIC, 2018. http://dx.doi.org/10.1142/9789813279674_0014.
Pełny tekst źródłaMoriaty, Manoli. "Upsetting the Controls: Considering Controllerist Practice in Computer Music Performance". W Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/consideringcontrollerist.
Pełny tekst źródła"THE MUSIC OF THE RUSSIAN PROSE". W Advanced studies in science: Theory and practice. Global Partnership on Development of Scientific Cooperation LLC., 2015. http://dx.doi.org/10.17809/10(2015)-06.
Pełny tekst źródłaFoster, Bev. "P-69 Music care training program: integrating music into regular care practice". W Leading, Learning and Innovating, Hospice UK 2017 National Conference, 22–24 November 2017, Liverpool. British Medical Journal Publishing Group, 2017. http://dx.doi.org/10.1136/bmjspcare-2017-hospice.96.
Pełny tekst źródłaAdu-Gilmore, Leila. "Critical Sonic Practice: Intersectional approaches to music technology, improvisation, theory and composition". W Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/criticalsonicpractice.
Pełny tekst źródłaOrlova, Tatyana Sergeevna. "Music perception as a base of musical-educational system among Children Music School pupils (in the context of genre approach)". W VII International Research and Practice Conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-112456.
Pełny tekst źródłaRaporty organizacyjne na temat "Music practice"
Білоус, О. С. Український фольклор як засіб морально-естетичного становлення особистості школяра. ПДПУ ім. К. Д. Ушинського, 2002. http://dx.doi.org/10.31812/123456789/3317.
Pełny tekst źródłaSun, Chenbing, Zhe Wang i Yuening Dai. Music therapy for sleep quality in cancer patients with insomnia:A protocol for systematic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, grudzień 2021. http://dx.doi.org/10.37766/inplasy2021.12.0128.
Pełny tekst źródłaKvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, sierpień 2018. http://dx.doi.org/10.22501/nmh-ar.481278.
Pełny tekst źródłaMayas, Magda. Creating with timbre. Norges Musikkhøgskole, sierpień 2018. http://dx.doi.org/10.22501/nmh-ar.686088.
Pełny tekst źródłaCrispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, sierpień 2018. http://dx.doi.org/10.22501/nmh-ar.503395.
Pełny tekst źródłaHavrilova, Liudmyla H., Olena Ye Ishutina, Valentyna V. Zamorotska i Darja A. Kassim. Distance learning courses in developing future music teachers’ instrumental performance competence. [б. в.], wrzesień 2019. http://dx.doi.org/10.31812/123456789/3265.
Pełny tekst źródłaKerrigan, Susan, Phillip McIntyre i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.
Pełny tekst źródłaYatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, luty 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
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