Gotowe bibliografie tematyczne / Music practice

Gotowa bibliografia na temat „Music practice”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych

Wybierz rodzaj źródła:

Spis treści

Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Music practice”.

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.

Artykuły w czasopismach na temat "Music practice"

1

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 źródła
Streszczenie:
The present study investigates whether past and present instrumental practices differ across musical genres (jazz, folk music, classical music) and vocalists in relation to instrumentalists ( N = 108). New findings were that vocalists and instrumentalists differed significantly in all practice experiences ( p < .05–.001), whereas fewer differences were found across genres. In line with previous research, classical musicians engaged more in solitary practice than folk music and jazz musicians did ( p < .001), yet jazz and folk music students practiced more in ensemble compared to classical musicians ( p < .05). In addition, the results contrasted with the general view of solitary practice as a demanding and unpleasant activity, as all groups of music students found solitary practice to be a more positive than negative experience. Future studies are warranted to more closely and empirically investigate vocalists’ practice habits, and to examine how emotions are related to instrumental practicing in music education.
Style APA, Harvard, Vancouver, ISO itp.
2

Critchfield, 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 źródła
Streszczenie:
Most music teachers desire to positively influence the development of their students’ character; however, the practicalities of doing so have been understudied in music education. This article draws on research from the related field of sports education and presents possible strategies for developing strong character in music students. Cultivating a moral atmosphere, developing a teaching orientation that encourages student mastery, and listening to student perceptions about their experience in the music classroom are research-driven approaches that music educators can use to encourage positive character development in music students.
Style APA, Harvard, Vancouver, ISO itp.
3

Syafa, 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 źródła
Streszczenie:
ABSTRACT: This study describes the practice of social life in the field of music in the city of Bontang, based on a sociological perspective using the generative formulation of the theory of Pierre Bourdieu (Habitus x Modal) + Ranah = Practice. This shows that the existence of the Bontang Reggae Community has produced several groups consisting of Reggae Grill, Slow Reggae, and Reggae Vibe groups as actors who practice in the realm of reggae music. This group was formed because of the different knowledge and understanding in the field of reggae music as a realm of space for social life, which then produced various habitus according to the realm of music in each group. Also, the existence of each group has been supported by the existence of a classification of capital which according to Bourdieu consists of four fundamental capitals including material capital, social capital, cultural capital, and symbolic capital. The three groups produce a practice resulting from dialectical relations through habitus-modal interactions in different and prominent domains of reggae music. The Reggae Grill group produces practices that come from symbolic capital, and circular habitus or the use of Cannabis, then the Slow Reggae group produces modern music practices that come from material capital and cultural capital, and the Reggae Vibe group produces solidarity practices that come from cultural capital and capital. symbolic, as well as group habitus. ABSTRAK: Penelitian ini menggambarkan praktik kehidupan sosial masyarakat pada bidang seni musik di kota Bontang, berdasarkan perspektif sosiologi dengan menggunakan rumusan generatif teori Pierre Bourdieu (Habitus x Modal) + Ranah = Praktik. Menunjukkan bahwa keberadaan Bontang Reggae Community telah melahirkan beberapa kelompok yang terdiri dari kelompok Reggae Grill, Slow Reggae, dan Reggae Vibe sebagai aktor yang melakukan praktik dalam ranah kehidupan seni musik reggae. Kelompok ini terbentuk karna adanya pengetahuan dan pemahaman yang berbeda-beda di bidang seni musik reggae sebagai ranah atau ruang kehidupan sosial, yang kemudian menghasilkan berbagai habitus sesuai dengan ranah musik pada masing-masing kelompok. Selain itu, keberadaan setiap kelompok telah didukung dengan adanya klasifikasi modal yang menurut Bourdieu terdiri dari keempat modal fundamental diantaranya adalah, modal material, modal sosial, modal kultural, dan modal simbolik. Ketiga kelompok tersebut menghasilkan sebuah praktik yang dihasilkan dari hubungan dialektis melalui interaksi habitus-modal dalam ranah musik reggae yang berbeda dan menonjol. Kelompok Reggae Grill menghasilkan praktik yang bersumber dari modal simbolik, dan habitus melingkar atau penggunaan Cannabis, kemudian kelompok Slow Reggae menghasilkan praktik musik modern yang bersumber dari modal material dan modal budaya, serta kelompok Reggae Vibe menghasilkan praktik solidaritas yang bersumber dari modal budaya, dan modal simbolik, serta habitus berkelompok.
Style APA, Harvard, Vancouver, ISO itp.
4

Guilbault, 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 źródła
Streszczenie:
This article focuses on the issue of meanings in ‘world music’ practices. The main questions addressed are how such musical cultures take on meanings, and what meanings are constructed by such cultures. As Deborah Pacini has indicated, the term ‘world music’ in this case does not refer to a musical genre. It is used, rather, ‘[as] a marketing term describing the products of musical cross-fertilisation between the north – the US and Western Europe – and south – primarily Africa and the Caribbean Basin, which began appearing on the popular music landscape in the early 1980s’ (1993, p. 48). From 1985, the expanding ‘world music’ umbrella has come to include practically any musics of cultures of non-European origin.
Style APA, Harvard, Vancouver, ISO itp.
5

Saputra, 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 źródła
Streszczenie:
AbstrakPenelitian ini bertujuan untuk mengetahui pelaksanaan pembelajaran gaya belajar aural play di Yamaha musik Padang. Metode yang digunakan dalam mengetahui pelaksanaan pembelajaran aural play di Yamaha musik Padang ini adalah metode kualitatif natural observasi, dimana peneliti sebagai instrument utama penelitian. Siswa Yamaha musik padang memiliki kecendrungan menggunakan indra pendengaran untuk belajar dan mempraktekkan alat musik dengan menirukan kembali apa saja yang dilakukan oleh guru mereka. Walaupun telah adanya buku penunjang berisi notasi musik yang dipelajari dengan cara membaca, siswa lebih senang mendengarkan dan menirukan cara guru mereka mempraktekan materi musik yang sedang dipelajarinya. Oleh sebab itu perlu untuk dicari tahu kenapa siswa Yamaha musik padang sangat cendrung menggunakan gaya belajar aural play dalam mempelajari dan mempraktekkan instrument musik mereka. Penelitian ini diharapkan dapat menambah wawasan kajian pembelajaran musik tentang penerapan gaya belajar aural kepada siswa di lembaga pendidikan musik, mampu memperkaya teori tentang gaya belajar aural dan terhadap pengembangan ilmu pengetahuan yang berkaitan dengan gaya belajar aural. Kata Kunci: gaya belajar, musik, aural, play.AbstractThis research study is to study the implementation of aural play style learning in Yamaha Padang music. The method used in studying the implementation of learning to play in Yamaha Padang music is a qualitative method of natural observation, where the researcher as the main research instrument. Yamaha Padang students have a tendency to use the sense of hearing to learn and practice musical instruments by imitating whatever their teacher does. Although there are supporting books containing music notation that are learned by reading, students prefer to listen and imitate the way their teacher practices the music material that they are learning. Therefore it is necessary to know why Yamaha Padang students are so inclined to use aural learning learning styles in discussions and practice their musical instruments. This research is expected to add insight into music learning about the application of aural learning styles to students in music education institutions, able to enrich theories about aural learning styles and to the development of knowledge related to aural learning styles. Keywords: learning style, music, aural, play.
Style APA, Harvard, Vancouver, ISO itp.
6

DEMEYERE, 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 źródła
Streszczenie:
The application of rhetoric to music had special significance in the seventeenth century and in the first half of the eighteenth century. The discipline of classical Greek oratory, originally dealing with how to make and execute a speech, formed the basis for the rules of composition and performance, especially in German-speaking lands. During this period the influence of rhetorical principles on all parameters of music was commonplace; not only did a vast number of treatises on rhetoric in music emerge, but the central educational programme taught in the Latin schools and the universities included both musica and rhetorica among the seven artes liberales. That rhetoric was also a fundamental part of Bach’s music-making is shown by the following testimony from Johann Abraham Birnbaum (1702–1748), Professor of Poetics and Rhetoric at Leipzig: ‘He so perfectly understood the resemblance which the performance of a musical piece has in common with rhetorical art that he was listened to with the utmost satisfaction and pleasure when he discoursed of the similarity and agreement between them; but we also wonder at the skilful use he made of this in his works’.
Style APA, Harvard, Vancouver, ISO itp.
7

Mahon. "Music, Power, and Practice". Ethnomusicology 58, nr 2 (2014): 327. http://dx.doi.org/10.5406/ethnomusicology.58.2.0327.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
8

BERGER, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
9

Woody, Robert Henley. "Obsessive – Compulsive Music Practice". American String Teacher 50, nr 2 (maj 2000): 116. http://dx.doi.org/10.1177/000313130005000222.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
10

Dovgiy, 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 źródła
Streszczenie:
The article describes a brief history of music. The main directions of application of music therapy are considered. The division of its methods and forms of work and an indicative note of the lesson on music therapy is provided. Keywords: music, music therapy.
Style APA, Harvard, Vancouver, ISO itp.
Więcej źródeł

Rozprawy doktorskie na temat "Music practice"

1

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 źródła
Streszczenie:
Music therapists are expected to provide live music for clients with diverse preferences, yet these therapists face many barriers preventing them from recreating client-preferred music in a way that adheres to the expectations of the genre, or with “musical authenticity.” The purpose of this study was to investigate music therapists’ perceptions and practices regarding musical authenticity. Survey responses (n = 904) indicated that music therapists highly value musical authenticity, but a major theme in the qualitative data revealed they often balance its importance with other factors. Descriptive survey data and qualitative themes revealed lack of training in functional musicianship and electronic technology as major barriers to musical authenticity. A major qualitative theme regarding therapists’ practices was the use of collaboration with clients and creative solutions. Most participants indicated use of non-electronic strategies and reported they had not used electronic technology to increase musical authenticity. Descriptive survey data and qualitative themes revealed frequent and effective use of recorded music. Finally, chi-square analyses revealed significant relationships between age and use of technology and iPad and between gender and use of technology. Music therapists would benefit from additional training, more research on authenticity, and music therapy specific guidelines for using music authentically.
Style APA, Harvard, Vancouver, ISO itp.
2

Stolp, 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 źródła
Streszczenie:
Thesis (PhD)--Stellenbosch University, 2012.
Sensitive 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.
Style APA, Harvard, Vancouver, ISO itp.
3

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 źródła
Style APA, Harvard, Vancouver, ISO itp.
4

Chantler, 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 źródła
Streszczenie:
I have been designing and building a set of battery powered hybrid synthesizer speaker objects that can be deployed in any location without the need for any additional infrastructure. Composing for and performing with the resulting system has become the focus of my artistic practice. This project brings together my interests in composition, design, synthesis, politics and performance to investigate new methods for performing and experiencing electronic music. The work takes the idea of the impossibility of an objective listener as its starting position and generates environments that give agency to the listener to create their own sonic experience of a given space. It also engages in questions of power and how this practice might work throughits entanglement in various power relations as a minor practice by introducing and opening up the conditions of possibility for other actions. This thesis traces the aesthetic roots of my undertaking in the work of others, including Okkyung Lee, Rie Nakajima, Tetsuya Umeda, Marginal Consort, Tony Conrad and Luc Ferrari. It also details my own experience creating work for the GRM's Acous- monium, the series of decisions made in creating my own alternative speaker orchestra, and the practical process of situated learning2 that I have undertaken to develop a performance practice via three stagings: at Röda Sten Konsthall in Göteborg, within a pedestrian underpass running below the E4 national highway, and at Järvafältet Nature Reserve, north of Stockholm.
Style APA, Harvard, Vancouver, ISO itp.
5

Vogelgesang, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
6

Stuart, 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 źródła
Streszczenie:
Thesis (D.M.A.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 1, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 125-129.
Style APA, Harvard, Vancouver, ISO itp.
7

Belletti, Anthony. "Trumpet Practice| Habits and Goals". Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262372.

Pełny tekst źródła
Streszczenie:

While 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.

Style APA, Harvard, Vancouver, ISO itp.
8

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 źródła
Streszczenie:

This 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.

Style APA, Harvard, Vancouver, ISO itp.
9

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 źródła
Streszczenie:
Twi major areas concerning the problems of practice are discussed. One is that poor practice often relegates itself to mindless repetition. The second problem is that the student often has a vague definition of piano technique. All technique should be a means of expression, not just an isolated physical exercise. Therefore, the purpose of this thesis was to understand the nature of practice and to develop a suggested practice routine which incorporates both technical and musical aspects. Two recommendations, strategies toward effective practice and an ideal practice sessions, serve as a practice outline and reference for both piano teacher and student. An appendix presents a collection of the thoughts and viewpoints on practicing from forty-four internationally acclaimed pianists.
Style APA, Harvard, Vancouver, ISO itp.
10

Shave, Thomas. "Hybridism : a practice-led investigation". Thesis, Keele University, 2013. http://eprints.keele.ac.uk/195/.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
Więcej źródeł

Książki na temat "Music practice"

1

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 źródła
Style APA, Harvard, Vancouver, ISO itp.
2

Practice in music theory. Wyd. 2. Singapore: Music Plaza, 1994.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
3

Practice in music theory. Singapore: Music Plaza, 1990.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
4

Julian, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
5

Renaissance music. Farnham, Surrey, England: Ashgate, 2011.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
6

Medieval music. Farnham, Surrey, England: Ashgate Pub Ltd, 2011.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
7

Musica practica: The social practice of Western music from Gregorian chant to postmodernism. London: Verso, 1994.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
8

Mayer, Brown Howard, i Sadie Stanley, red. Performance practice: Music before 1600. Basingstoke, Hampshire: Macmillan Press, Music Division, 1989.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
9

The practice of practice. [Chicago, Illinois]: Sol UT Press, 2014.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
10

Engelke, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
Więcej źródeł

Części książek na temat "Music practice"

1

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 źródła
Style APA, Harvard, Vancouver, ISO itp.
2

Anthony, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
3

Katsos, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
4

Hughes, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
5

Dileo, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
6

Anthony, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
7

Theorell, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
8

Stevenson, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
9

Gillam, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
10

Amans, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.

Streszczenia konferencji na temat "Music practice"

1

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 źródła
Style APA, Harvard, Vancouver, ISO itp.
2

Melnychuk, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
3

Madden, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
4

Lassauniere, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
5

Sopchoke, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
6

Moriaty, 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
Style APA, Harvard, Vancouver, ISO itp.
7

"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 źródła
Style APA, Harvard, Vancouver, ISO itp.
8

Foster, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.
9

Adu-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 źródła
Style APA, Harvard, Vancouver, ISO itp.
10

Orlova, 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 źródła
Style APA, Harvard, Vancouver, ISO itp.

Raporty organizacyjne na temat "Music practice"

1

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 źródła
Streszczenie:
The article deals with the meaning of folklore as the means of a moral-aesthetic making of a pupil’s personality. The author’s conclusions are based on the opinions of famous pedagogues and musicians. The curriculum in Music analysis, the recommendations concerning the broadening of a used repertoire of a folk music creative work in the practice of a compulsory school at the expense of introduction of the material of an folk creative work are given.
Style APA, Harvard, Vancouver, ISO itp.
2

Sun, 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 źródła
Streszczenie:
Review question / Objective: The aim of this systematic review is to compare music therapy in terms of efficacy in cancer patients with insomnia disorders to better inform clinical practice. Condition being studied: The effectiveness of music therapy for cancer- associate insomnia is the main interest of this systematic review. Information sources: MEDLINE (PubMed, Ovid) The Cochrane Library, Web of Science, Embase and Electronic retrieval of Chinese Biomedical Literature Database (CBM), China National Knowledge Infrastructure (CHKD-CNKI), VIP database, Wanfang Database will be searched from inception time to date. In addition, the included literature will be reviewed and relevant literature will be supplemented.
Style APA, Harvard, Vancouver, ISO itp.
3

Kvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, sierpień 2018. http://dx.doi.org/10.22501/nmh-ar.481278.

Pełny tekst źródła
Streszczenie:
Wood or Blood? New scores and new sounds for voice and clarinet Astrid Kvalbein and Gjertrud Pedersen, Norwegian Academy of Music What is this thing called a score, and how do we relate to it as performers, in order to realize a musical work? This is the fundamental question of this exposition. As a duo we have related to scores in a variety of ways over the years: from the traditional reading and interpreting of sheet music of works by distant (some dead) composers, to learning new works in dialogue with living composers and to taking part in the creative processes from the commissioning of a work to its premiere and beyond. This reflective practice has triggered many questions: could the score for instance be conceptualized as a contract, in which some elements are negotiable and others are not? Where two equal parts, the performer(s) and the composer might have qualitatively different assignments on how to realize the music? Finally: might reflecting on such questions influence our interpretative practices? To shed light on these issues, we take as examples three works from our recent repertoire: Ragnhild Berstad’s Vevtråd (Weaving thread, 2010), Jan Martin Smørdal’s The Lesser Nighthawk (2012) and Lene Grenager’s Tre eller blod (Wood or blood, 2005). We will share – attempt to unfold – some of the experiences gained from working with this music, in close collaboration and dialogue with the composers. Observing the processes from a certain temporal distance, we see how our attitudes as a duo has developed over a longer span of time, into a more confident 'we'.
Style APA, Harvard, Vancouver, ISO itp.
4

Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, sierpień 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

Pełny tekst źródła
Streszczenie:
Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
Style APA, Harvard, Vancouver, ISO itp.
5

Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, sierpień 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

Pełny tekst źródła
Streszczenie:
As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
Style APA, Harvard, Vancouver, ISO itp.
6

Havrilova, 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 źródła
Streszczenie:
The scientific and methodological background of creation and development of the distance learning courses for the future music teachers is substantiated. The components and structure of future music teachers’ instrumental performance competence are defined; the content of the course is revealed. The materials are based on the authors’ teaching experience within the distance learning course “Basic Musical Instrument (Piano)”. The main blocks of the distance course design and development are considered among them to be theoretical, practical, individual work, and control blocks. The specificity of distance learning methods in the future music teachers’ instrumental and performance training is substantiated and three main methods are distinguished. The method of involving information and communication technologies, including multimedia; project method, and features of knowledge and skills controlling are elaborated. The results of implementation and experimental research of using distance learning courses for developing future music teachers’ instrumental performance competence are described. The influence of different methods use on students’ success is explored.
Style APA, Harvard, Vancouver, ISO itp.
7

Kerrigan, 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 źródła
Streszczenie:
Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
Style APA, Harvard, Vancouver, ISO itp.
8

Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, luty 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

Pełny tekst źródła
Streszczenie:
The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
Style APA, Harvard, Vancouver, ISO itp.
Możesz być także zainteresowany rozszerzonymi bibliografiami na temat „Music practice” dla poszczególnych typów źródeł:
Artykuły w czasopismach Rozprawy doktorskie Książki
Oferujemy zniżki na wszystkie plany premium dla autorów, których prace zostały uwzględnione w tematycznych zestawieniach literatury. Skontaktuj się z nami, aby uzyskać unikalny kod promocyjny!

Do bibliografii