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Bibliografias temáticas / Humanities -> music -> music appreciation

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Literatura científica selecionada sobre o tema "Humanities -> music -> music appreciation"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Humanities -> music -> music appreciation"

1

Cho, Sunggi. "Development and Effectiveness of Smart Learning System for Music Appreciation". Korean Society of Music Education Technology 31 (16 de abril de 2017): 135–54. http://dx.doi.org/10.30832/jems.2017.31.135.

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The objective of this study is to develop smart learning system for music appreciation and also to verify its effectiveness to explore new methods of music appreciation education in the current condition when smart education using smart phone and mobile devices is emphasized. After understanding the type and method of music appreciation education and the characteristics of smart education through literature, the appreciation learning in smart learning system for appreciation education was designed, and then a smart learning system interlocking with App and Web was developed. In order to verify the effectiveness of the developed system, the system was applied to five classes of humanities high school. In the results, the smart learning system for music appreciation brought about the improvement of academic achievement and satisfaction, which verified its effect on appreciation learning. The results of this study would be significantly used as an idea/case for national smart education as a basic research data for music and other subjects. Also, the smart learning system realized through the results of this study is expected to be used as an effective tool of appreciation learning for every user including elementary/secondary schools, college students, and ordinary people.

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Luo, Yali, e Kritsakorn Onlamul. "Develop a curriculum for first-year students at Aksu vocational and technical college’s school of humanities and arts, focusing on teaching Chinese folk songs". Asian Journal of Contemporary Education 8, n.º 1 (24 de maio de 2024): 52–61. http://dx.doi.org/10.55493/5052.v8i1.5088.

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This research investigates the integration of Chinese folk songs into the curriculum at Aksu Vocational and Technical College, situated in the culturally diverse Aksu region of Xinjiang, China. This study identifies significant gaps in current music education methods, particularly the disconnect between theoretical learning and practical application, which hinders students’ ability to engage deeply with the material and develop employable skills. Employing a mixed-methods research design, both qualitative and quantitative approaches were used to develop, implement, and evaluate a teaching package specifically designed for first-year students. The package aimed to enhance students' understanding and appreciation of Chinese folk music, thereby improving their cultural competence and engagement with the academic content. The findings suggest that the new curriculum significantly boosted the students' knowledge of and connection to folk music traditions. It also facilitated a better understanding of the music’s historical, cultural, and social contexts. Moreover, the teaching package fostered essential skills in cultural awareness and academic involvement, contributing effectively to vocational music education in a multi-ethnic setting. This approach not only bridges the gap between theory and practice but also enriches the students’ educational experience by embedding cultural appreciation into the learning process, making a substantial contribution to the field of music education.

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Ramsey, Gordon P. "Teaching the connections between music and mathematics". Journal of the Acoustical Society of America 154, n.º 4_supplement (1 de outubro de 2023): A26. http://dx.doi.org/10.1121/10.0022673.

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Mathematics is often perceived by students as being difficult. However, when they see how math and music are intimately related, their attitude often changes. Some of the most fundamental aspects of music are described by math. For example, the Circle of Fifths closely reflects musical structure and is used to create scales and chord progressions. The Circle is structured around the mathematical relations of frequency ratios of the corresponding notes in a 12-tone scale. The reactions to music of consonance and dissonance are related to the relative ratios of the notes in a chord or note sequence in a piece. The connection between music and math forms the basis for creating instruments that play the music. I will suggest ways to present these concepts to students for their greater appreciation of music and math.

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Gillespie, David C. "The Sounds of Music: Soundtrack and Song in Soviet Film". Slavic Review 62, n.º 3 (2003): 473–90. http://dx.doi.org/10.2307/3185802.

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In this article, David C. Gillespie explores the deliberate foregrounding of music and song in Soviet film. He begins with a discussion of the structural and organizing roles of music and song in early Soviet sound films, including tiiose by Sergei Eizenshtein, Grigorii Aleksandrov, Ivan Pyr'ev, and Aleksandr Ivanovskii. Gillespie then focuses on the emphasis on urban song in some of the most popular films of the stagnation years, such as The White Sun of the Desert (1969) and Moscow Does Not Believe in Tears (1979), adding considerably to the appreciation of these films. To conclude, he analyzes folk music in films about village life, especially those directed by Vasilii Shukshin, and explores the role of music in constructing a mythical and nationalistic discourse.

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Omojola, Olabode F. "Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)". Africa 64, n.º 4 (outubro de 1994): 533–43. http://dx.doi.org/10.2307/1161372.

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The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as the nature of Bankole's musical training and experience. This provides an appropriate context for understanding and appreciating the stylistic features of Bankole's works. Drawing on examples from his works, the article establishes the eclectic nature of Bankole's style, in which European and African musical elements interact.

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Sari, Berliana N., e Dhany Arifianto. "Music appreciation on cochlear implant simulation with contour and temporal cues". Journal of the Acoustical Society of America 152, n.º 4 (outubro de 2022): A90. http://dx.doi.org/10.1121/10.0015645.

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The musical appreciation of the cochlear implant simulation user on the contour and temporal cues and the effect of the coding strategy are determined. Cochlear implant simulations were processed using continuous interleaved sampling (CIS) and spectral peak (SPEAK) coding strategies with varying numbers of channels. The experiments consist of contour identification, temporal cue discrimination, and familiar melody identification. The results show cochlear implant simulation users are poor at recognizing contour cues compared with normal hearing, but good at discriminating temporal cues from tempo and rhythm varied with contour, achieving scores close to normal hearing. A poor score was observed in familiar melody identification with pitch contour, compared to normal hearing scores, which correlated (r = 0.99) with the recognition of contour cues. Temporal cue information from rhythm helped cochlear implant simulation users recognize familiar melodies with an almost 40% increase in score compared to melodies without rhythm (p 0.05). Music appreciation was poor on the variation of coding strategy with the number of channels 2 to 6 CIS and good on the SPEAK coding strategy (compared with 22 channels condition). The studies emphasize the need for advances in coding strategies to deliver pitch contour cues to cochlear implant processing.

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7

Chang, Yuh-Jer, Ji-Yan Han, Wei-Chung Chu, Lieber Po-Hung Li e Ying-Hui Lai. "Enhancing music recognition using deep learning-powered source separation technology for cochlear implant users". Journal of the Acoustical Society of America 155, n.º 3 (1 de março de 2024): 1694–703. http://dx.doi.org/10.1121/10.0025057.

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Cochlear implant (CI) is currently the vital technological device for assisting deaf patients in hearing sounds and greatly enhances their sound listening appreciation. Unfortunately, it performs poorly for music listening because of the insufficient number of electrodes and inaccurate identification of music features. Therefore, this study applied source separation technology with a self-adjustment function to enhance the music listening benefits for CI users. In the objective analysis method, this study showed that the results of the source-to-distortion, source-to-interference, and source-to-artifact ratios were 4.88, 5.92, and 15.28 dB, respectively, and significantly better than the Demucs baseline model. For the subjective analysis method, it scored higher than the traditional baseline method VIR6 (vocal to instrument ratio, 6 dB) by approximately 28.1 and 26.4 (out of 100) in the multi-stimulus test with hidden reference and anchor test, respectively. The experimental results showed that the proposed method can benefit CI users in identifying music in a live concert, and the personal self-fitting signal separation method had better results than any other default baselines (vocal to instrument ratio of 6 dB or vocal to instrument ratio of 0 dB) did. This finding suggests that the proposed system is a potential method for enhancing the music listening benefits for CI users.

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Blake, David. "Musicological Omnivory in the Neoliberal University". Journal of Musicology 34, n.º 3 (2017): 319–53. http://dx.doi.org/10.1525/jm.2017.34.3.319.

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This essay attributes the rise of inclusive values in recent musicological work to multicultural and neoliberal reforms in American universities. Musicological inclusivity is characterized through omnivore theory, a sociological theory of taste correlating educational attainment with a disposition for multicultural appreciation and a rejection of highbrow modes of exclusion. Analyzing discursive values using a corpus of 120 books published between 2010 and 2013, this essay elucidates three foundational values to musicology’s inclusiveness: an interest in studying diverse music; a predilection for inter- or transdisciplinary methodologies; and the rejection of musicology itself as outdated and hegemonic. The first two of these, derived from the multicultural turn in the humanities, offer fruitful ways for musicologists to interact with the diverse cultural and technological environs of contemporary academia. The third, however, reaffirms the neoliberal devaluation of organizations and specializations, casting musicology as a straw man that bears scant resemblance to the intellectual work currently undertaken within the discipline. In order to contest the neoliberal values that threaten the discipline’s institutional foundations, this essay contends that scholars should reframe musicology as an inclusive, democratic, and specialized intellectual community, a characterization that reflects recent scholarship more accurately than highbrow stereotypes.

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9

AYANGIL, RUHI. "Western Notation in Turkish Music". Journal of the Royal Asiatic Society 18, n.º 4 (outubro de 2008): 401–47. http://dx.doi.org/10.1017/s1356186308008651.

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The adoption of western notation (which is an example of graphic notation) as the “official system” in Turkey dates from after 1828. Sultan Mahmud II (reigned 1808–1839) abolished the Janissary force in 1826 and with it the musical unit of that army, it was a band for wind and percussion instruments (Mehterhâne-i Hümâyûn). He then organised his new army on western lines and thus introduced an institution of western origin, the military band, as the musical unit of his modern army. This new institution, which was European in its music system, instruments, repertoire and first and foremost its methods of education, was formed under the name Muzika-i Hümâyûn (the royal military band). Professional musicians were invited from Europe to participate and, with the foundation of Muzika-i Hümâyûn in 1827, the most far-reaching change in Turkish musical history took place. It was an outstanding manifestation of westernisation which necessarily made a deep impact on both the Turkish makam (modal) music system and the existence and the behaviour of the musicians who produced and performed it. The domination of makam music and its masters in court circles and their claim to be the sole and absolute system of taste was undermined, although the appreciation and respect of certain sultans and bureaucrats continued on a personal level. From that date on, a duality, an East-West dichotomy (the effects of which can still be seen), overtook the cultural sphere of which music was a part. Within this dichotomy, tonal polyphonic music of the West began to make its influence felt at least as much as, if not more than, makam based Turkish music both within the state framework and in the society at large. These dual concepts were referred to as Alla Turca and Alla Franga. While Alla Franga (alafranga in common parlance) came to symbolise modernity, change and the new life style, Alla Turca (alaturka in common parlance) became a manifestation of being archaic and conservative and of having a blind commitment to tradition and an under-developed taste (even no taste at all). Within this series of dichotomies, which took hold of every area of life (from literature to fashion also, eating habits, systems of beliefs, and education as well as government) makam based Turkish music received a large share of “cultural negation” with the judgement that it did not even have a decent notation system. It became marginalised and restricted to a narrow social group deeply and passionately devoted to it. Even during this process, makam music developed a dynamic of self-protection against “cultural negation” with its composers, theorists, publishers, performers and listening public. Makam music composers and performers learnt western notation, they wrote pieces down and deciphered music from that notation; a system of education based on modern methods developed while still preserving meşk (the traditional oral teaching method of Turkish music). These efforts were driven by the ‘ideal’ of transforming makam music, which was claimed to be archaic due to its monodic structure, into a polyphonic music. The musicians who knew western notation (such as Melekzet Efendi, Leon [Hancıyan] Efendi, etc.) were paid great amounts of money in order to record the works of the old masters in western notation and compile them, along with new compositions, into extensive note-collections (such as Muzika-i Hümâyûn Kumandanı [the commander of the royal military band] Necîp Paşa Collection and the Pertev Paşa Collection, etc.). Works were also published in note editions (such as Mâlûmat [literally meaning knowledge], Müntehâbât [literally meaning selections], Ûdî [lute-player] Arşak editions, etc.). Moreover, educational guides devoted to teaching makam theory and solmisation (such as Tanbûrî Cemîl Bey's Rehber-i Mûsikî [The Music Guide], Muallim [teacher] İsmail Hakkı Bey's Mahzen-i Esrâr-ı Mûsikî [The Cellar of the Secrets of Music], Muallim Kâzım Bey's Mûsikî Nazariyâtı [Music Theory], etc.) and the first methods for learning the instruments of makam music (such as Ûdî Salâhî Bey's Ud metodu [Lute Method], Seyyid Abdülkaadir Bey's Usûl-i Ta'lîm-i Keman [Method for Practising Violin, etc.], modelled on their European counterparts, were beginning to be published.

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Worland, Randy. "Combination tones and multiphonics in a physics of music lab". Journal of the Acoustical Society of America 152, n.º 4 (outubro de 2022): A54. http://dx.doi.org/10.1121/10.0015516.

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Laboratory exercises related to multiphonic tones in wind instruments have been developed for use in an undergraduate Physics of Music class. Although the concepts of nonlinear mixing and production of combination tones can be challenging to present at a non-technical level, a hand’s-on (mouth’s-on!) approach allows students to can gain a visceral and aural appreciation of this type of mixing and its musical use by wind players. The exercises make use of inexpensive free-reed pitch pipes. A pair of pipes can be played independently, producing a linear combination of the two sources, and as a pair of coupled nonlinear oscillators, resulting in combination tones. The differences between the two types of mixing are heard and viewed on a spectrogram in real time. Unlike multiphonics produced by advanced woodwind and brass players, every student can produce these combination tones with pitch pipes. Most can also sing a fixed pitch while playing a pipe to achieve another multiphonic effect. The exercises are readily extended to harmonicas, as available, where difference tones are often heard quite clearly, and the nonlinear mixing forms an essential part of the instrument’s timbre. Additional multiphonic examples are also illustrated.

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Teses / dissertações sobre o assunto "Humanities -> music -> music appreciation"

1

McDonald, Jennifer Ann. "Music and me : measuring and understanding real-life music preferences". Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608208.

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Cusano, Janice M. "Music specialists' beliefs and practices in teaching music listening /". Electronic version Electronic version, 2004. http://wwwlib.umi.com/dissertations/fullcit/3209909.

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Thesis (Ph. D.)--Indiana University, 2004.
Computer printout. Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0878. Adviser: Mary Goetze. Includes bibliographical references (leaves 205-223), abstract, and vita.

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3

Eakes, Kevin Wayne Walls Kimberly C. "A comparison of a sociocultural and a chronological approach to music appreciation in face-to-face and online instructional formats". Auburn, Ala, 2009. http://hdl.handle.net/10415/1681.

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4

Bolanis, Susan Loehrke. "Children's responses to live musical performance by an ensemble without, then with pedagogical training". [S.l. : s.n.], 1996. http://catalog.hathitrust.org/api/volumes/oclc/53916456.html.

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5

Stanley, Michael Brooke. "Participant music listening behaviours in interactive multimedia music instruction". Thesis, The University of Sydney, 1999. http://hdl.handle.net/2123/361.

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While emerging technologies such as interactive multimedia are increasingly being employed in computerised music instruction, understanding of participant music listening behaviours in interactive multimedia music instruction is currently very limited. With the aim of elucidating music listening behaviour, the central concern of this work is to identify and explain participant interactions with the audio components of interactive multimedia music instruction. The investigation employs a novel documentation procedure, which extends the application of digital audio recording technology, to provide a finely calibrated analysis of the audio activity of a sample of 20 undergraduate music education majors during individual sessions with two commercially-available interactive multimedia music instruction programs. Graphically-based Sound Activity Profiles, which the researcher developed specifically for the current investigation, characterise and summarise participant interactions with audio components, while an analysis of questionnaire responses and follow-up interview transcripts provides supplementary information that further explains participants' music listening behaviours. The results of the investigation show that music listening behaviours during the study sessions were highly variable. While extensive participant interaction with music examples occasionally reflected attentive music listening behaviours, many study sessions were characterised by brief, fragmentary music excerpts and lengthy periods of silence. Participants spent as little as five percent of their session time listening to music and as much as 88 percent of the session time in silence. A substantial number of the study cohort frequently interrupted the music examples they had activated. Participants' perceptions of the extent of their interaction with music examples were frequently inaccurate, as subjects often substantially overestimated the amount of session time they had spent listening to music. The study findings suggest that many interactive multimedia music instruction participants would benefit from interventions that elicit more extensive and prolonged interaction with music examples. Accordingly, recommendations include a call for research to develop and test software designs that incorporate automated monitoring of session audio activity so that dynamic on-screen information about music listening behaviour can be provided to interactive multimedia music instruction participants. Such information may encourage participants to modify inappropriate music listening behaviours.

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6

Stanley, Michael Brooke. "Participant music listening behaviours in interactive multimedia music instruction". University of Sydney. Music Education, 1999. http://hdl.handle.net/2123/361.

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While emerging technologies such as interactive multimedia are increasingly being employed in computerised music instruction, understanding of participant music listening behaviours in interactive multimedia music instruction is currently very limited. With the aim of elucidating music listening behaviour, the central concern of this work is to identify and explain participant interactions with the audio components of interactive multimedia music instruction. The investigation employs a novel documentation procedure, which extends the application of digital audio recording technology, to provide a finely calibrated analysis of the audio activity of a sample of 20 undergraduate music education majors during individual sessions with two commercially-available interactive multimedia music instruction programs. Graphically-based Sound Activity Profiles, which the researcher developed specifically for the current investigation, characterise and summarise participant interactions with audio components, while an analysis of questionnaire responses and follow-up interview transcripts provides supplementary information that further explains participants' music listening behaviours. The results of the investigation show that music listening behaviours during the study sessions were highly variable. While extensive participant interaction with music examples occasionally reflected attentive music listening behaviours, many study sessions were characterised by brief, fragmentary music excerpts and lengthy periods of silence. Participants spent as little as five percent of their session time listening to music and as much as 88 percent of the session time in silence. A substantial number of the study cohort frequently interrupted the music examples they had activated. Participants' perceptions of the extent of their interaction with music examples were frequently inaccurate, as subjects often substantially overestimated the amount of session time they had spent listening to music. The study findings suggest that many interactive multimedia music instruction participants would benefit from interventions that elicit more extensive and prolonged interaction with music examples. Accordingly, recommendations include a call for research to develop and test software designs that incorporate automated monitoring of session audio activity so that dynamic on-screen information about music listening behaviour can be provided to interactive multimedia music instruction participants. Such information may encourage participants to modify inappropriate music listening behaviours.

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7

李德芬 e Daphne Lee. "The transmission of Qin music: the analysis of four versions of the composition Pingsha luoyan". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B43894896.

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Custer, Robert S. "Effect of passive classroom listening on students' preferences toward classical/concert music /". Licensed for access by UF students, faculty, and staff (and others in a UF library), 2003. http://wwwlib.umi.com/cr/ufl/fullcit?p3117317.

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Lucas, James Edward. "Score and analysis of the International Suite for Two Pianos and Orchestra /". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747395.

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McNeely, Heather Eaves. "Questioning boundaries in traditional music appreciation pedagogy: a study of the effect of an attentive listening-based approach on the music appreciation achievement of college, non-music majors". Thesis, Boston University, 2013. https://hdl.handle.net/2144/11141.

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Thesis (D.M.A.)--Boston University
Music appreciation courses have become core components of humanities and education curricula, yet scholars have differed on the definitions, approaches, and goals of such courses. Researchers have investigated the efficacy of various pedagogical approaches to teaching music appreciation; some have attempted to measure appreciation and clarify its definition and goals; others have argued that a traditional approach perpetuates a hidden curriculum of social stratification. The purpose of this study is to determine the effectiveness of an attentive listening-based approach on the music appreciation achievement of college, non-music majors compared to a traditional approach. In this study, indicators of music appreciation included factual knowledge, listening skills, and attitudes. Attitudes were assessed via a Music Attitude Questionnaire, and factual knowledge and listening skills were assessed via a final achievement test. Participants included intact groups of students in two separate classes of a college music appreciation class (N = 110). The researcher taught and tested one class according to a traditional approach, using the textbook Music: An Appreciation (Kamien, 2008) and taught and tested the other class according to an attentive, listening-based approach, utilizing the text Take Note: An Introduction to Music Through Listening (Wallace, in press). Gordon's Advanced Measures of Music Audiation (1989) was administered to all participants at the beginning of the semester. A researcher-designed Music Attitude Questionnaire was administered to all participants as a pretest/posttest and an identical, researcher-designed final achievement test was administered to all participants at the end of the semester. Analysis of variance on participants' final achievement test scores indicated that there was no significant difference between the classes in the areas of factual knowledge and listening skills. Data from the Music Attitude Questionnaire were first subjected to principal components analysis (PCA) followed by independent samples t-tests on participants' posttest responses to questionnaire items identified as reflecting underlying components in PCA. Results of the t-tests indicated no significant difference between the two classes. The sociological implications of music appreciation courses are discussed and suggestions for future research are provided.

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Livros sobre o assunto "Humanities -> music -> music appreciation"

1

Kamien, Roger. Music: Appreciation. 5^a ed. Maidenhead: McGraw-Hill, 1992.

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2

Politoske, Daniel T. Music. 4^a ed. Englewood Cliffs, N.J: Prentice-Hall, 1988.

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3

Politoske, Daniel T. Music. 5^a ed. Englewood Cliffs, N.J: Prentice Hall, 1992.

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4

Kamien, Roger. Music: An appreciation. 4^a ed. New York: McGraw-Hill, 1988.

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5

Kamien, Roger. Music: An appreciation. 4^a ed. Boston, Mass: McGraw-Hill, 2002.

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6

Kamien, Roger. Music: An appreciation. 4^a ed. New York: McGraw-Hill, 1988.

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7

Kamien, Roger. Music: An appreciation. 7^a ed. London: McGraw, 2000.

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8

Kamien, Roger. Music: An appreciation. 7^a ed. Boston: McGraw-Hill College, 2000.

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9

Kamien, Roger. Music: An appreciation. 3^a ed. Boston, Mass: McGraw-Hill, 1998.

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10

Kamien, Roger. Music: An appreciation. 6^a ed. New York: McGraw-Hill, 1996.

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Capítulos de livros sobre o assunto "Humanities -> music -> music appreciation"

1

Kroonenberg, Pieter M. "Music appreciation: The Chopin Preludes". In Multivariate Humanities, 327–45. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69150-9_17.

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2

Kroonenberg, Pieter M. "Musical stylometry: Characterisation of music". In Multivariate Humanities, 347–70. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69150-9_18.

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3

Gustafson, Ruth Iana. "Fictions of Origin: Music Appreciation, Multiculturalism, and World Music". In Exploring Diasporic Perspectives in Music Education, 59–88. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52105-9_4.

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4

Golding, Rosemary. "W.H. Hadow, ‘Faculties of Appreciation’". In Music in Nineteenth-Century Britain, 228–39. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-25.

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Burgoyne, John Ashley, Ichiro Fujinaga e J. Stephen Downie. "Music Information Retrieval". In A New Companion to Digital Humanities, 213–28. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118680605.ch15.

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6

Ngiam, Leon Chong Wen, e Swee Lan See. "Language e-Learning and Music Appreciation". In Advances in Human Factors, Business Management, Training and Education, 865–77. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42070-7_80.

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7

Chybowski, Julia. "The Phonograph and Music Appreciation in Early Twentieth-Century America". In Milestones in Music Education, 66–88. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003245681-4.

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8

Neuwirth, Markus. "Digital Humanities". In The Routledge Handbook of Music and Migration, 56–58. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003309437-15.

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9

Garrison, Rodney. "Heightening Music Appreciation via Problem-Based Learning". In Problem-Based Learning in the College Music Classroom, 53–66. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351265249-5.

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10

Namba, Miyu, e Yumi Wakita. "Simple Wearable Vibration Device for Music Appreciation". In Lecture Notes in Computer Science, 79–88. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-60449-2_6.

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Trabalhos de conferências sobre o assunto "Humanities -> music -> music appreciation"

1

Yang, Hongsi. "Appreciation on Theme Music of Schindler's List". In 2016 5th International Conference on Social Science, Education and Humanities Research. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ssehr-16.2016.246.

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2

"The Study on Music Appreciation Teaching from the Perspective of Multiculturalism". In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.14.

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3

Yuan-Pin Lin, Tzyy-Ping Jung e Jyh-Horng Chen. "EEG dynamics during music appreciation". In 2009 Annual International Conference of the IEEE Engineering in Medicine and Biology Society. IEEE, 2009. http://dx.doi.org/10.1109/iembs.2009.5333524.

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4

"Strategies for Improving Music Appreciation Ability of Non-music Majors". In 2019 International Conference on Arts, Management, Education and Innovation. Clausius Scientific Press, 2019. http://dx.doi.org/10.23977/icamei.2019.166.

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5

Xu, Yi-Jing, Zhe Zhang e Jian-Hua Zhang. "University General Education and Music Appreciation". In 2014 International Conference on Management Science and Management Innovation (MSMI 2014). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/msmi-14.2014.46.

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6

Yong, Zhou. "Research on the Function of Film and Television Music in Music Appreciation Class". In 2017 7th International Conference on Social Network, Communication and Education (SNCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/snce-17.2017.154.

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7

Arifianto, Dhany, e Epri Wahyu Pratiwi. "Enhanced harmonics for music appreciation on cochlear implant". In TENCON 2016 - 2016 IEEE Region 10 Conference. IEEE, 2016. http://dx.doi.org/10.1109/tencon.2016.7848410.

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8

Tan, ZhuWen. "Music Appreciation Teaching in an Internet-Based Environment". In 2010 International Conference on Multimedia Technology (ICMT). IEEE, 2010. http://dx.doi.org/10.1109/icmult.2010.5629858.

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9

Wang, Xiao. "Music appreciation on the construction of enterprise culture". In International Conference on Information Engineering. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/icie131552.

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10

Lu, Yong. "Dynamic Property and Aesthetic Appreciation of Music Duration". In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.48.

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