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Artykuły w czasopismach na temat "Premovement"
Sarwary, A. M. E., D. F. Stegeman, L. P. J. Selen i W. P. Medendorp. "Generalization and transfer of contextual cues in motor learning". Journal of Neurophysiology 114, nr 3 (wrzesień 2015): 1565–76. http://dx.doi.org/10.1152/jn.00217.2015.
Pełny tekst źródłaPadgett, C., A. Biggs i F. Scott-Park. "Premovement testing of cattle". Veterinary Record 158, nr 12 (25.03.2006): 418–19. http://dx.doi.org/10.1136/vr.158.12.418-a.
Pełny tekst źródłaHuang, Ying-Zu, Yao-Shun Chang, Miao-Ju Hsu, Alice M. K. Wong i Ya-Ju Chang. "Restoration of Central Programmed Movement Pattern by Temporal Electrical Stimulation-Assisted Training in Patients with Spinal Cerebellar Atrophy". Neural Plasticity 2015 (2015): 1–9. http://dx.doi.org/10.1155/2015/462182.
Pełny tekst źródłaScott-Park, F., i A. Biggs. "Premovement testing for bovine TB". Veterinary Record 158, nr 16 (22.04.2006): 571. http://dx.doi.org/10.1136/vr.158.16.571.
Pełny tekst źródłaGriffin, Darcy M., i Peter L. Strick. "The motor cortex uses active suppression to sculpt movement". Science Advances 6, nr 34 (sierpień 2020): eabb8395. http://dx.doi.org/10.1126/sciadv.abb8395.
Pełny tekst źródłaSingh, Jaswinder, Robert T. Knight, N. Rosenlicht, Joan M. Kotun, D. J. Beckley i D. L. Woods. "Abnormal premovement brain potentials in schizophrenia". Schizophrenia Research 8, nr 1 (październik 1992): 31–41. http://dx.doi.org/10.1016/0920-9964(92)90058-d.
Pełny tekst źródłaLebedev, M. A., J. M. Denton i R. J. Nelson. "Vibration-entrained and premovement activity in monkey primary somatosensory cortex". Journal of Neurophysiology 72, nr 4 (1.10.1994): 1654–73. http://dx.doi.org/10.1152/jn.1994.72.4.1654.
Pełny tekst źródłaVoorn, Frans J. "A negative premovement potential in the rat". Psychobiology 16, nr 1 (marzec 1988): 70–74. http://dx.doi.org/10.3758/bf03327302.
Pełny tekst źródłaMushiake, H., M. Inase i J. Tanji. "Neuronal activity in the primate premotor, supplementary, and precentral motor cortex during visually guided and internally determined sequential movements". Journal of Neurophysiology 66, nr 3 (1.09.1991): 705–18. http://dx.doi.org/10.1152/jn.1991.66.3.705.
Pełny tekst źródłaWischnewski, Miles, Greg M. Kowalski, Farrah Rink, Samir R. Belagaje, Marc W. Haut, Gerald Hobbs i Cathrin M. Buetefisch. "Demand on skillfulness modulates interhemispheric inhibition of motor cortices". Journal of Neurophysiology 115, nr 6 (1.06.2016): 2803–13. http://dx.doi.org/10.1152/jn.01076.2015.
Pełny tekst źródłaRozprawy doktorskie na temat "Premovement"
Murase, Nagako. "Abnormal premovement gating of somatosensory input in writer's cramp". Kyoto University, 2001. http://hdl.handle.net/2433/151458.
Pełny tekst źródłaGentet, Maroussia. "Au cœur de l’expérience du sens dans l’interprétation pianistique. Construire la temporalité par la présence au mouvement". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL111.
Pełny tekst źródłaMy research is grounded in an essential question for the musician: how do you construct a lively performance that seems meaningful to him ? Some artists describe an experience of being played that combines understanding of the musical text with its embodiment in the playing: musical elements are sensitively connected and delimited across different time scales by a gesture that makes sense. Firstly, the study of practical issues of pianistic experience brings into question a model of the body as object, and a way of using imaginaries to motivate gesture, that underlie traditional musicological analysis and pedagogy. The segmentation of musical text into articulated elements in a quantified space, and the succession of movements aimed at producing sound segments, appear insufficient for experiencing the meaning and continuity of musical experience. Secondly, theatrical anthropology, dance, psychomotricity, phenomenology and practical experience provide insights into the emergence of meaning through the notion of corporeity. The notions of premovement and presence open up the quest for a quality of attention aimed at perceiving variations in body tonicity in interaction with its environment, in order to shape the quality of gesture. These practices explore the relationship to alterity, the construction of spatiality and the connection between different parts of the body by engaging the imaginary. Applied to the performance of a musical work, they enable us to articulate musical elements in our own relation to the world, and to develop an embodied temporality