Gotowe bibliografie tematyczne / Musical/non-musical

Gotowa bibliografia na temat „Musical/non-musical”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 8 lutego 2022

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Artykuły w czasopismach na temat "Musical/non-musical"

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Kharlov, Andrei Vladimirovich. "INCANTATIONS: MUSICAL APPROACH TO NON-MUSICAL GENRES ANALYSIS". Manuscript, nr 4 (kwiecień 2019): 141–45. http://dx.doi.org/10.30853/manuscript.2019.4.29.

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Gardiner, Martin Frederick. "Emotional participation in musical and non-musical behaviors". Behavioral and Brain Sciences 35, nr 3 (23.05.2012): 149–50. http://dx.doi.org/10.1017/s0140525x11001506.

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AbstractExistence of similarities of overall brain activation, specifically during emotional and other common psychological operations (discussed by Lindquist et al.), supports a proposal that emotion participates continuously in dynamic adjustment of behavior. The proposed participation can clarify the relationship of emotion to musical experience. Music, in turn, can help explore such participation.
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Johnson, Daniel, i Dan Ventura. "Musical Motif Discovery from Non-Musical Inspiration Sources". Computers in Entertainment 14, nr 2 (30.12.2016): 1–22. http://dx.doi.org/10.1145/2888403.

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Narme, Pauline, Audrey Tonini, Fatiha Khatir, Loris Schiaratura, Sylvain Clément i Séverine Samson. "Non pharmacological treatment for Alzheimer's disease: comparison between musical and non-musical interventions". Gériatrie et Psychologie Neuropsychiatrie du Viellissement 10, nr 2 (czerwiec 2012): 215–24. http://dx.doi.org/10.1684/pnv.2012.0343.

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Alaminos-Fernández, Antonio Francisco. "Musical transformations of non-places". OBETS. Revista de Ciencias Sociales 13, nr 3 (9.11.2018): 211. http://dx.doi.org/10.14198/obets2018.13.1.08.

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The twentieth and twenty-first century have been a temporary canvas where two closely related concepts have broadened, both in terms of modernity and supermodernity: ambient music and the development of urban spaces. Both phenomena undergo a development, interaction and sustained change process, largely caused by technological changes. For the purpose of this study, first the concept of "non-places" and its change from physical spaces to virtual spaces will be presented. In second place, the development of ambient music is specifically considered; first regarding the close relationship that it establishes with non-places and then the generation of atmospheres through collective sound spheres. Subsequent technological transformations spread and fragment the associations between non-places and music, enabling personal atmospheres through individual spheres. At present, technological developments allow virtual non-places to take shape (Augé), which are environmentally filled thanks to playlists through streaming services. Subsystems of delocalised networked spheres and temporary spheres are established, yet they are emotionally contiguous. This article presents the humanising role that music has experienced within this urban growth process in western societies, which have developed over the last century.
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Boorom, Olivia, Valerie Muñoz, Rongyu Xin, Meredith Watson i Miriam D. Lense. "Parental responsiveness during musical and non-musical engagement in preschoolers with ASD". Research in Autism Spectrum Disorders 78 (październik 2020): 101641. http://dx.doi.org/10.1016/j.rasd.2020.101641.

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Herbert, Ruth. "Musical and non-musical involvement in daily life: The case of absorption". Musicae Scientiae 16, nr 1 (9.11.2011): 41–66. http://dx.doi.org/10.1177/1029864911423161.

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The construct of absorption (effortless engagement) has been the subject of a small number of discipline-specific studies of involvement, including music. This paper reports the results of an empirical project that compared psychological qualities of absorption in everyday music listening scenarios with characteristics of non-music-related involvement. Absorption was located in “real-world” settings, and experiences across different activities in a variety of contexts were tapped as soon as possible after they occurred. The inquiry was designed to test two assumptions that have underpinned previous absorption research: first, that certain activities are inherently particularly absorbing; second, that absorption is best conceptualized primarily as a trait as opposed to a state. Twenty participants kept diaries for two weeks, recording descriptions of involving experiences of any kind. Eight weeks after submitting descriptive reports they completed the Modified Tellegen Absorption Scale ( Jamieson, 2005 ). Diaries indicated that different activities shared a subset of involving features, and confirmed the importance of multi-sensory perception and the imaginative faculty to absorbed experiences. Music may be a particularly effective agent in the facilitation of absorption because it affords multiple potential entry points to involvement (acoustic attributes, source specification, entrainment, emotion, fusion of modalities) and because its semantic malleability makes it adaptable to a variety of circumstances. The MODTAS provided insufficient evidence for establishing correlations between state and trait absorption. It is argued that state and trait divisions are constructs that are inherently problematic.
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Jonāne, Jūlija. "Sacred Music – a Forbidden Fruit: Musical and Non-musical Ways of Survival". Musicological Annual 50, nr 2 (3.04.2015): 127–35. http://dx.doi.org/10.4312/mz.50.2.127-135.

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Prohibition of sacred music during the period of Soviet Latvia was exerted like a syndrome of forbidden fruit, that was breached in the underground way and developed in secret and complicated forms, in which the central is secular music genres’ and radical musical language’s using. A re-reading of texts will lead to a more nuanced understanding of the development of sacred music in Latvia and other countries.
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Putri, Annisa Aulia, i Haryanto Haryanto. "Perbedaan Kecerdasan Emosional pada Mahasiswa yang Mengikuti UKM Musik dan Mahasiswa yang Mengikuti UKM Non-Musik". Gadjah Mada Journal of Psychology (GamaJoP) 4, nr 2 (29.05.2019): 119. http://dx.doi.org/10.22146/gamajop.46358.

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The aim of this study is to determine the difference in emotional intelligence of students from musical extracurricular and students from non-musical extracurricular. This research used quantitative method. Data collected with Emotional Intelligence Scale. The hypothesis in this study is that emotional intelligence of students from musical extracurricular higher than students from non-musical extracurricular. Total participant of this study were 83 active student members of the extracurricular in Universitas Gadjah Mada. Through the use of Independent T-test, found that there’s no significant difference between students from musical extracurricular than non-musical extracurricular, since mean of students from non-musical extracurricular (M = 180,750) is higher than students from musical extracurricular (M = 175,171). Therefore, emotional intelligence of students from musical extracurricular is not higher than students from non-musical extracurricular.
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Dahary, Hadas, Tania Palma Fernandes i Eve-Marie Quintin. "The relationship between musical training and musical empathizing and systemizing traits". Musicae Scientiae 24, nr 1 (12.06.2018): 113–29. http://dx.doi.org/10.1177/1029864918779636.

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Although individual differences in engagement with and response to music are well documented, little is known about variations in musical empathizing and systemizing (E-S) traits and their relation to musical sophistication, including musical training. The current study examines the relationship between musical and general (non-musical) E-S traits and how musical sophistication and specific aspects of musical training are related to musical E-S traits. A total of 81 respondents reported on their level of musical sophistication and training (e.g., musical abilities, formal training, and engagement in musical activities) and endorsement of musical and general E-S traits. Participants were asked to complete the Goldsmiths Musical Sophistication Index (musical sophistication and training), the Empathizing and Systemizing quotients (general, non-musical E-S traits), and the Musical Empathizing and Systemizing inventory (musical E-S traits). Results suggest that general E-S traits are related to musical E-S traits and that musical sophistication, including but not limited to formal training, is positively associated with musical E-S traits. Furthermore, greater music training, as measured by the number of instruments played and years of formal instrumental and theory training, is related to greater endorsement of E-S traits. This study provides grounds for assessing the link between musical sophistication and training and musical E-S traits within clinical populations that have atypicalities in empathizing (e.g., autism spectrum disorder).
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Rozprawy doktorskie na temat "Musical/non-musical"

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Johnson, Daniel S. "Musical Motif Discovery in Non-Musical Media". BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4081.

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Many music composition algorithms attempt to compose music in a particular style. The resulting music is often impressive and indistinguishable from the style of the training data, but it tends to lack significant innovation. In an effort to increase innovation in the selection of pitches and rhythms, we present a system that discovers musical motifs by coupling machine learning techniques with an inspirational component. The inspirational component allows for the discovery of musical motifs that are unlikely to be produced by a generative model, while the machine learning component harnesses innovation. Candidate motifs are extracted from non-musical media such as images and audio. Machine learning algorithms select the motifs that best comply with patterns learned from training data. This process is validated by extracting motifs from real music scores, identifying themes in the piece according to a theme database, and measuring the probability of discovering thematic motifs verses non-thematic motifs. We examine the information content of the discovered motifs by comparing the entropy of the discovered motifs, candidate motifs, and training data. We measure innovation by comparing the probability of the training data and the probability of the discovered motifs given the model. We also compare the probabilities of media-inspired motifs with random motifs and find that media inspiration is more efficient than random generation.
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Sebring, Ellen Irene. "Musical form in non-narrative video". Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/77318.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (leaves 75-76).
"Musical Form in Non- Narrative Video" explores musical structure as a model for visual form over time, specifically in the creation of artistic video. Video is a medium in which sound and image coexist at the source as electronic signals, offering new possibilities of abstract synesthesia. Forms in which neither sight nor sound dominants facilitate a sensory experience of the content. A musical model for abstract form supports an effort to free video from the forward-impelled, linear narrative; to create a form which can be experienced many times on multiple levels. Musical parameters such as meter, dynamics and motivic development are correlated to visual parameters. Their application in my own videotapes is analyzed. Experimental form-generated pieces are outlined. "Aviary" and "Counterpoint" are video scores which present two different approaches to music image composition. A score system in which video and audio can be synchronized via SMPTE Time Code and MIDI Digital Audio Code is examined. Increasing videodisc distribution opens an avenue for serious artistic applications of music- image composition for a home, concert and exhibition medium. The videodisc medium also breaks down the linear impulse in favor of viewer choice with accompanying demands for formal growth.
by Ellen Irene Sebring.
M.S.V.S.
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Johnson, Brandon Paige. "Elements of excellence: A study of musical and non-musical factors common within non-conservatory college and university choral programs recognized for excellence". Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280289.

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This study explores commonalities found within six non-conservatory college/university choral programs recognized for excellence within art of choral performance. The study provides areas of reform for other choral directors in an effort to further develop choral singing in post secondary institutions of the United States. The participating institutions were selected by a survey of their peers and were limited, by category, as delineated by the Carnegie Foundation. The institutions chosen for participation include: Concordia College, St. Olaf College, Northern Arizona University, San Jose State University, Florida State University and The University of Illinois Champaign-Urbana. Interviews with the Directors of Choral Activities and of the Directors of the Schools of Music are used to collect musical and non-musical information. The author has provided a discussion of commonalities, recommendations for reform, and a literature compilation of the selected institutions choral performances, as a reference guide for current choral conductors. Areas of discussion include: rehearsal technique, literature, collaboration, funding considerations, and administrative concerns.
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Payne, Nicole, i Saravanan Elangovan. "Musical Training Influences Temporal Processing of Speech and Non-Speech Contrasts". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1565.

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Siddell-Strebel, Jeanne. "The effects of non-musical components on the ratings of performance quality /". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102844.

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The purpose of this study was to determine whether certain non-musical components of a performance affect evaluator's performance quality ratings. Specifically, if there is an age at which point the presence of a music stand (i.e. an implied use of the score), the performers attractiveness, attire, stage behaviour and perceived level of accomplishment impacts performance ratings. Fourteen cellists were videotaped performing by memory, and then a second time with their music on a music stand, synchronizing their motions with the audio feedback from their first performance. The cellists and their performances were evaluated by 1024 individuals with no formal training in music ranging in age from six to fifty-five years old. Each evaluator was assigned to one of six groups: Visual only, Audio only, Memorized, Dubbed, Random 1, or Random 2. Results revealed that the presence or absence of a music stand had no impact on performance ratings. Performer attractiveness affected performance ratings for both sexes, although contrary to previous findings, being attractive was not advantageous. Dress had an inverse effect on ratings of female performers and poor stage behaviour affected ratings of both sexes. Although evaluators were unable to predict a performer's proficiency based solely on gesture, proficiency gestures made by musicians during performances affected ratings. Evaluators in the audiovisual conditions gave performers who appeared less accomplished significantly lower ratings than those in the audio only condition. Evaluators aged 13 were more critical than younger evaluators with their musical ratings and their ratings were also affected by the visual aspects of a performance. These results suggest that older non-musician evaluators use visual aspects to help their evaluations of subjective musical elements because they have a hard time hearing differences.
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Genuys, Grégoire. "Non-commutative homometric musical structures and chord distances in geometric pitch spaces". Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066576/document.

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Nous étudions deux thématiques principales : l'homométrie non-commutative dans des produits semi-directs, et une notion de distance entre accords musicaux. deux melodies sont dites homométriques si elles possèdent le même ensemble d'intervalles : nous transposons cette notion a un enchainement d'accords et plus généralement a des produits semi-directs, ce qui permet d'élaborer un cadre pour l'étude de l'homométrie dans des groupes non-commutatifs, tels que le groupe diédral. nous définissons dans une deuxième partie une mesure de distances entre des accord musicaux n'ayant pas le même nombre de notes, a partir d'une distance basée sur le concept de voice-leading
We study two main topics: non-commutative homometry and the notion of distance between musical chords. Two melodies are homometric if they share the same set of intervals. We transpose this notion to a chord sequence and more generally to semi-direct products, which allows to build a framework for the general study of homometry in non-commutative groups, such as the dihedral group. In the second part we define a mesure of distance between musical chords of different cardinalities, from a distance based on the notion of voice-leading
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Ciciliani-Stiglmayer, Marko. "Dirty light : the application of musical principles to the organisation of light as an extension of musical expression into the non-figurative visual realm". Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5075.

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This thesis describes a number of compositions in which the objective was to investigate whether, and how far, the organisation of light can function as an extension of musical expression in the non-figurative visual realm. I explore the extent to which sound and light are compatible as media, in the sense of both being able to communicate a common set of ideas. The thesis begins by placing the discussion in a historical context, with an overview of the history of analogies between sound and light from Antiquity to the 19th century, as well as the history of Light Art. The second part of the thesis describes synaesthesia as a historically developed aesthetic concept and as a field of research that reveals interesting facts about the neuronal processing of stimulations from the senses. The third part forms the core of the research. It leads from a general historic discussion to more specific problems that emerged in my own work with sound and light. Light is a medium strongly characterised by purity; at first, light therefore seemed an inappropriate medium in which to offer plausible translations of different degrees of sonic noise. However, because of the importance that the inclusion of noise has taken in music since the 20th century, this would have meant a severe handicap in looking for a homological relationship between sound and light in artistic contexts. From a discussion of the broad implications the idea of dirt has in social and cultural contexts, the focus is eventually reduced to the aesthetic problem at hand. By means of a classification of three different sorts of noise, a more differentiated understanding becomes possible of the various functions that noise can have. Corresponding forms of ‘dirty light’ eventually become conceivable and artistically applicable. In the fourth part, six compositions and one audiovisual installation are discussed. Each of these works explores different relationships between the visual and sonic component. When appropriate, the various concepts of ‘dirty light’ that have been derived in the third part are reflected in the form of concrete examples. After discussing each work individually, certain practical problems are addressed that surfaced repeatedly under different performance circumstances. In the fifth part I pose the question of how far events that are conceived to be musical have to be based on sonic events. Common definitions of music that describe sonic events as its exclusive concern are questioned and a number of examples of music are discussed where the sonic outcome is hardly audible or even completely silent. I propose a notion that conceives music as a larger field of activity in which visual manifestations form an integral part. The seven audiovisual works form the practical component of this dissertation. As a result of this research a more differentiated understanding of the nature of the coupling of sound and light has emerged, alongside a comprehension of the at times strongly differing views on the general nature of cross-disciplinary works.
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Wright, Gary Kenneth. "A case study of an exemplary choral program: Non-musical issues of excellence". Scholarly Commons, 1996. https://scholarlycommons.pacific.edu/uop_etds/2692.

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The purpose of this study was to examine an exemplary choral program in detail, focusing on the non-musical aspects of the program. The study examined the school, the administration, the students, parents and community, director and accompanist. The study was undertaken in a school in western United States that recently appeared at the American Choral Directors Association national convention. Data were gathered by onsite visits, surveys, and interviews. These interviews were either video or audio taped and transcribed. The data were gathered and analyzed using grounded and emergent theory techniques. After data were coded, seven categories emerged: three categories of data generated by (and largely under the control of) the director, and four categories of data that were community driven. The director generated categories were: a charismatic choral director, clear goals, and recruiting procedures. The community controlled categories were: community expectations and awareness, the choir's privileged role in the community, administrative support, and money raising. This study found six non-musical factors present in this program that appear to explain its success: (1) A high level of community awareness and support. (2) A charismatic choral director who had both the ability and permission to raise large sums of money. (3) An adequate level of administrative support. (4) A support network that diffused some of the extraordinary pressures of running an exemplary choral program. (5) A unique way of providing the critical extra training that such a successful program needs. (6) A history of a strong feeder program that allowed the program to develop "critical mass" and become the class of choice for many of the student body. While this study focused on a single site, most of these six factors appear to be considerations leading to the success of any choral program. It is hoped that further research will lend support to the hypothesis that successful programs will exhibit the above six conditions.
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Ruddock, Eve. "Ballad of the never picked : a qualitative study of self-perceived non-musicians' perceptions of their musicality". University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0103.

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Humans are a musical species and every culture has its music. However, twenty individuals out of a cohort of twenty-nine participants in this study judged themselves to be 'not musical'. Through their words, silences and responses, the story of music in the lives of these self-perceived non-musicians uncovered a musical world where concepts of performance, judgment and talent dominate. My investigation into individuals' perceptions of their musicality revealed a pervasive societal belief that individuals were either born 'musical' or they were not; their everyday reality was one where music was perceived as a performance, an object, something that only talented people can 'do'. I planned conversations with participants that aimed to reveal clues that could help to unravel a paradox that lies within music in our Western culture: every young human is intrinsically musical but only some are born with a gift to be musical. Participant convictions that they were not musical deterred some individuals from active engagement in music making. They felt as if they had been left out of the 'musical ballpark'. Details from conversations illustrated a constricting cultural imposition on individuals; this was perpetuated in many schools and also in private music teaching. Data revealed that current educational practice contributed to a denial of a natural birthright and alienated some individuals from being part of a musical community. As their stories revealed failed attempts to engage in music making, iterative contacts created a daunting quantity of data. But there was poetry in participant data. These self-perceived non-musicians simultaneously demonstrated their musicality in the rhythms of their narrative as they denied that they were musical; this emerged as a means to report the research whereby participants' words combined to tell a non-musician's tale. Compelling narrative revealed a society where educational practice does little to address individual musical development. While each story alone was specific and complex, once the stories became woven together as a complex and contradictory whole, the ballad of the never picked captured the essence of a distanced musicality in our Western society. Narrative drove towards meaning. Through interpretation and detailed qualitative analysis, understandings began to emerge from depths of experience and from friction existing within contradictions. Deep within narrative which evolved over a period of five years were perceptions that led to understandings of our cultural reality. Active involvement in this research became part of an emancipatory process for several participants where mutually reflective acts exposed unnecessary impositions from societal expectations. Participant voices uncover a bifurcated reality wherein the musical development of many individuals is undermined through an ignorance of holistic human potential; this musical-unmusical divide is perpetuated in educational practice.
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Lux, Violeta Alejandra Mayer. "Musical practices and non-democratic political systems : Popular music in authoritarian Chile 1973-1990". Thesis, University of Liverpool, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533976.

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Książki na temat "Musical/non-musical"

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Music for non-musical subjects. Leicester: Library Association Audiovisual Group Publications, 1986.

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Selected musical terms of non-Western cultures: A notebook-glossary. Warren, Mich: Harmonie Park Press, 1990.

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Althouse, Jay. 168 non-musical ways to improve your band or choral program. East Stroudsburg, PA (P.O. Box 204, East Stroudsburg 18301): Music in Action, 1986.

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Griffel, L. Michael. Funny, you don't look it: Jews, non-Jews, and the Broadway musical. New York: Hunter College of the City University of New York, 2007.

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Le corps qui pense: Étude sur les tensions musculaires non fonctionnelles chez l'interprète musical. Paris: L'Harmattan, 2006.

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Hazel, Brian Richard. John Gay's "failures": A discussion of the "unsuccessful" non-musical comedies, 1712-1754, their background anddramatic quality. Birmingham: University of Birmingham, 1991.

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Larry, Steelman, i Feldstein Sandy, red. Keyboard basics: Steps one & two combined. Miami: Warner Bros., 1996.

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ill, Aruego Jose, i Dewey Ariane ill, red. Musical Max. New York: Simon and Schuster Books for Young Readers, 1990.

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ill, Aruego Jose, i Dewey Ariane ill, red. Musical Max. New York: Half Moon Books, 1990.

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Forme e generi della musica: Una guida per i non esperti. [Milan]: Garzanti, 2001.

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Części książek na temat "Musical/non-musical"

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Datta, Asoke Kumar, Ranjan Sengupta, Kaushik Banerjee i Dipak Ghosh. "Evaluation of Musical Quality of Tanpura by Non Linear Analysis". W Signals and Communication Technology, 133–49. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2610-3_9.

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Park, Saebyul, Chung-Kon Shi i Jeounghoon Kim. "The Role of Affective Factors in Computer-Aided Musical Learning for Non-musician Adults". W HCI International 2014 - Posters’ Extended Abstracts, 133–38. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07854-0_24.

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Tsunoda, T. "The Difference in the Cerebral Processing Mechanism for Musical Sounds between Japanese and Non-Japanese and its Relation to Mother Tongue". W Musik in der Medizin / Music in Medicine, 119–42. Berlin, Heidelberg: Springer Berlin Heidelberg, 1987. http://dx.doi.org/10.1007/978-3-642-71697-3_9.

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Boorman, Stanley. "The Non-musical Books". W Ottaviano Petrucci, 229–41. Oxford University Press, 2005. http://dx.doi.org/10.1093/acprof:oso/9780195142075.003.0008.

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Rickard, Nikki S., i Tanchyuan Chin. "Defining the Musical Identity of “Non-Musicians”". W Handbook of Musical Identities, 288–303. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199679485.003.0016.

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Bridgett, Rob. "Diegetic, non-diegetic and trans-diegetic musical spaces". W Leading with Sound, 129–33. Focal Press, 2021. http://dx.doi.org/10.4324/9781003082521-24.

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Koegel, John. "Non-English-language musical theatre in the United States". W The Cambridge Companion to the Musical, 29–53. Cambridge University Press, 2001. http://dx.doi.org/10.1017/ccol9780521862387.003.

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Koegel, John. "Non-English-Language Musical Theatre in the United States". W The Cambridge Companion to the Musical. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781316335468.004.

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Auerbach, Brent. "BMA Narrative Archetypes". W Musical Motives, 165–82. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526026.003.0006.

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Chapter 5.5 serves as the first of two Interludes addressing musical narrative. Following from the original proposition that motives must move and move readers, narrative is established as a necessary mechanism for structuring complete, meaningful analyses. The chapter first rehearses the argument that untexted music implicitly possesses narrative qualities. Evidentiary support is taken from seminal works both from literary theory (Propp, Frye, Liszka) and from the fields of musical semiotics and narrative (Nattiez, Hatten, McClary, Guck, Newcomb, Maus, Schmalfeldt, Almén, and Klein). The interlude continues by presenting four “archetypes” for organizing and animating (ascribing motion to) motivic findings. The first archetype, called BMA-1, communicates the progress of a single motive. The other three archetypes, all forms of BMA-2, model multiple motives or motivic elements in dialogue. The possible interactions are “Non-Engagement,” “Synthesis,” and “Triumph.” The BMA archetypes are demonstrated through discussion of works by Beethoven and Chopin.
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Baird, Amee, i William Forde Thompson. "Preserved Musical Instrument Playing in Dementia". W Music and Dementia, 138–68. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190075934.003.0008.

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The ability to play a musical instrument can remain in people with dementia, despite their cognitive impairment in other non-music domains. Case studies of people with Alzheimer’s Dementia (AD) or Behavioural variant Frontotemporal dementia (Bv-FTD) have reported preserved musical instrument playing even in the severe stage and, in some cases, the ability to learn a musical instrument after the onset of dementia. We propose that playing a musical instrument allows a unique form of access to two crucial domains, memory and the self. It enables the expression of preserved forms of memory, namely procedural, semantic, and episodic, including autobiographical memories. In doing so, it can provide access to one’s past and continuing self and can be considered a form of self-preservation and expression in musicians with dementia. Four new cases of preserved musical instrument playing in people with AD and Bv-FTD are described to illustrate our proposal.
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Streszczenia konferencji na temat "Musical/non-musical"

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Mainsbridge, Mary. "Non-tactile Gestural Control in Musical Performance". W the 2014 International Workshop. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2617995.2618021.

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Wu, Yongmeng, i Nick Bryan-Kinns. "Supporting Non-Musicians? Creative Engagement with Musical Interfaces". W C&C '17: Creativity and Cognition. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3059454.3059457.

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Gomes, André, Frederico Resende, Luan Gonçalves i Flávio Luiz Schiavoni. "Prototyping Web instruments with Mosaicode". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10431.

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Many HTML 5 features enable you to build audio applications for web browsers, simplifying the distribution of these applications, and turning any computer, mobile, and portable device into a digital musical instrument. Developing such applications is not an easy task for layprogrammers or non-programmers and may require some effort by musicians and artists to encode audio applications based on HTML5 technologies and APIs. In order to simplify this task, this paper presents the Mosaicode, a Visual programming environment that enables the development of Digital Musical Instruments using the visual programming paradigm. Applications can be developed in the Mosaicode from diagrams – blocks, which encapsulate basic programming functions, and connections, to exchange information among the blocks. The Mosaicode, by having the functionality of generating, compiling and executing codes, can be used to quickly prototype musical instruments, and make it easy to use for beginners looking for learn programming and expert developers who need to optimize the construction of musical applications.
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Poon Chong, Peter, i Terrence Lalla. "APPLYING FUZZY QFD MCDM TO EVALUATE MUSICAL INSTRUMENTS". W International Conference on Emerging Trends in Engineering & Technology (IConETech-2020). Faculty of Engineering, The University of the West Indies, St. Augustine, 2020. http://dx.doi.org/10.47412/bgmj4037.

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This paper exhibits a method to improve the quality of musical instruments with the application of two Multi-Criteria Decision Making models, Technique of Order Preference by Similarity to Ideal Solution (TOPSIS) and Analytic Hierarchy Process (AHP) in a Quality Function Deployment (QFD) Environment. A fuzzy analysis approach was also included to accommodate qualitative data in music. The QFD was constructed with literature based on optimizing the manufacture of musical instruments. At this phase of the research, the paper focused on the physical parameters and perceived qualities of musical instruments. The proposed modified QFD was developed to identify the product features chosen by the market and aid the manufacture of musical instruments. A standard QFD recognized and scored factors to develop and manufacture musical instruments. It accommodated some core engineering variables for the musical instruments but overlooked some feature stakeholder needs. For example, the musician may not have 100% gratification while playing the instrument as the manufacturer fails to capture acoustic features to psychologically satisfy the musician’s audience. Using fuzzy logic, QFD and MCDM increased the model performance by expanding the data set. It offered the manufacturer of musical instruments a mode to capture and analyse behavioural linguistic data covering more customer requirements. Hence, the approach increased the range to correlate the physical features and psychological behaviours of musical instruments. It allowed non-technical persons to provide an improved form of reliable information. This modified QFD can also be applied to develop other products involving linguistic data.
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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training". W 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Zhao, An, i James W. Beauchamp. "Time-scaling non-vibrato musical tones while preserving timbral texture". W 174th Meeting of the Acoustical Society of America. Acoustical Society of America, 2017. http://dx.doi.org/10.1121/2.0000796.

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Hankinson, John C. K., i Alistair D. N. Edwards. "Musical Grammars as the Basis of Non-Speech Audio Communication". W International Conference on Auditory Display '98. BCS Learning & Development, 1998. http://dx.doi.org/10.14236/ewic/ad1998.15.

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Taitz, Alan, Diego Shalom, Marcos Trevisan i Bruno Mesz. "The taste of scales and chords". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10445.

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Reliable crossmodal correspondences between basic tastes and music features have been found in recent studies [1,2]. In this work, we explore associations between scales, chords and tastes. Several of these elementary musical structures show non-random patterns of matching with basic tastes. Moreover, their aggregate dyadic consonance [3] anti-correlates with the relative frequency of their matching to bitter taste.
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van der Smissen, Andrea. "Musikalische Innovation im Umfeld der Moderne und historischen Avantgarde in Ungarn". W Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.75.

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In recent decades the interpretation of music history of the interwar period was determined by factors which allowed only national or folkloristic approaches to modern music in Hungary. However, the composers of the group ‘Modern Hungarian Musicians’, connected to the forums of the New Music like the ISCM or Cowell‘s NMS, were committed to a transcultural view of musical innovation. Through intermedial connections between literary and fine art, they received non-musical impulses by modern and avantgarde movements. This paper makes an approach on their heterogeneous conception of music with the common sense, to set a renewal of the musical language as its goal.
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Holzapfel, Andre, i Yannis Stylianou. "A Statistical Approach to Musical Genre Classification using Non-Negative Matrix Factorization". W 2007 IEEE International Conference on Acoustics, Speech, and Signal Processing. IEEE, 2007. http://dx.doi.org/10.1109/icassp.2007.366330.

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