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Статті в журналах з теми "Music hubs"
Keppy, Peter. "Southeast Asia in the age of jazz: Locating popular culture in the colonial Philippines and Indonesia." Journal of Southeast Asian Studies 44, no. 3 (October 2013): 444–64. http://dx.doi.org/10.1017/s0022463413000350.
Повний текст джерелаBjørnsen, Egil, and Jane Woddis. "Music in our lives: Using the concept of “Bildung” to understand the role of music education policy in England." Research Studies in Music Education 42, no. 2 (June 28, 2019): 192–207. http://dx.doi.org/10.1177/1321103x19841918.
Повний текст джерелаWhittaker, Adam. "Teacher perceptions of A-level music: tension, dilemmas and decline." British Journal of Music Education 38, no. 2 (January 14, 2021): 145–59. http://dx.doi.org/10.1017/s0265051720000352.
Повний текст джерелаAnderson, Anthony, and Sarah Barton-Wales. "Musical culture and the primary school: an investigation into parental attitudes to Whole Class Ensemble Teaching in the English primary school and potential impacts on children’s musical progress." British Journal of Music Education 36, no. 03 (October 28, 2019): 267–79. http://dx.doi.org/10.1017/s0265051719000366.
Повний текст джерелаValiquet, Patrick. "Grimes’s Hymn to Technocracy, Insolvent Affordances, and the Need for Reparative Organology." Journal of Popular Music Studies 34, no. 3 (September 1, 2022): 119–41. http://dx.doi.org/10.1525/jpms.2022.34.3.119.
Повний текст джерелаPatel, S., A. Gannon, M. Cryan, C. Dolan, C. Mcdonald, C. Houghton, and G. Mccarthy. "Electronic smart-hub based intervention during COVID-19 in a rural Psychiatry of Old Age service in North-West Ireland." European Psychiatry 65, S1 (June 2022): S654. http://dx.doi.org/10.1192/j.eurpsy.2022.1679.
Повний текст джерелаKreutz, Gunter, and Michael Feldhaus. "Does music help children grow up? Parental views from a longitudinal panel study." Musicae Scientiae 24, no. 2 (June 15, 2018): 139–54. http://dx.doi.org/10.1177/1029864918782581.
Повний текст джерелаVilkner, Nicole. "Articulating Urban Culture with Coach Horns in the Long Nineteenth Century." Journal of Musicology 39, no. 2 (2022): 225–54. http://dx.doi.org/10.1525/jm.2022.39.2.225.
Повний текст джерелаFleming, Simon D. I. "The Howgill Family: A Dynasty of Musicians from Georgian Whitehaven." Nineteenth-Century Music Review 10, no. 1 (June 2013): 57–100. http://dx.doi.org/10.1017/s1479409813000049.
Повний текст джерелаFAUTLEY, MARTIN, and REGINA MURPHY. "Editorial." British Journal of Music Education 31, no. 1 (March 2014): 1–4. http://dx.doi.org/10.1017/s0265051714000011.
Повний текст джерелаДисертації з теми "Music hubs"
Godfrey, Mark Thomas. "Hubs and homogeneity improving content-based music modeling /." Thesis, Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/22572.
Повний текст джерелаHaro, Berois Martín. "Statistical distribution of common audio features : encounters in a heavy-tailed universe." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/128623.
Повний текст джерелаEn el campo de la extracción de información musical o Music Information Retrieval (MIR), los algoritmos llamados Bag-of-Frames (BoF) han sido aplicados con éxito en la clasificación y evaluación de similitud de señales de audio monofónicas. Por otra parte, investigaciones recientes han señalado problemas importantes a la hora de aplicar dichos algoritmos a señales de música polifónica. Estos algoritmos suponen que las descripciones numéricas extraídas de los fragmentos de audio de corta duración (o frames ) son capaces de capturar la información necesaria para la realización de las tareas planteadas, que el orden temporal de estos fragmentos de audio es irrelevante y que las descripciones extraídas de los segmentos de audio pueden ser correctamente descritas usando estadísticas Gaussianas. Por lo tanto, si se pretende mejorar los algoritmos BoF actuales se podría intentar: i) mejorar los descriptores de audio, ii) incluir información temporal en los algoritmos que trabajan con música polifónica y iii) estudiar y caracterizar las propiedades estadísticas reales de los descriptores de audio. La bibliografía actual sobre el tema refleja la existencia de un número considerable de trabajos centrados en las dos primeras opciones de mejora, pero sorprendentemente, hay una carencia de trabajos de investigación focalizados en la tercera opción. Por lo tanto, esta tesis se centra en el análisis y caracterización de la distribución estadística de descriptores de audio comúnmente utilizados para representar información tímbrica, tonal y de volumen. Al contrario de lo que se asume habitualmente, nuestro trabajo muestra que los descriptores de audio estudiados se distribuyen de acuerdo a una distribución de “cola pesada” y por lo tanto no pertenecen a un universo Gaussiano. Este descubrimiento nos permite proponer nuevos algoritmos que evidencian mejoras importantes sobre los algoritmos BoF actualmente utilizados en diversas tareas de MIR tales como clasificación de género, detección de instrumentos musicales y etiquetado automático de música. También nos permite proponer nuevas tareas tales como la medición de la evolución temporal de la música popular occidental. Finalmente, presentamos algunas prometedoras líneas de investigación para tareas de MIR ubicadas, a partir de ahora, en un universo de “cola pesada”.
En l’àmbit de la extracció de la informació musical o Music Information Retrieval (MIR), els algorismes anomenats Bag-of-Frames (BoF) han estat aplicats amb èxit en la classificació i avaluació de similitud entre senyals monofòniques. D’altra banda, investigacions recents han assenyalat importants inconvenients a l’hora d’aplicar aquests mateixos algorismes en senyals de música polifònica. Aquests algorismes BoF suposen que les descripcions numèriques extretes dels fragments d’àudio de curta durada (frames) son suficients per capturar la informació rellevant per als algorismes, que els descriptors basats en els fragments son independents del temps i que l’estadística Gaussiana descriu correctament aquests descriptors. Per a millorar els algorismes BoF actuals doncs, es poden i) millorar els descriptors, ii) incorporar informació temporal dins els algorismes que treballen amb música polifònica i iii) estudiar i caracteritzar les propietats estadístiques reals d’aquests descriptors basats en fragments d’àudio. Sorprenentment, de la revisió bibliogràfica es desprèn que la majoria d’investigacions s’han centrat en els dos primers punts de millora mentre que hi ha una mancança quant a la recerca en l’àmbit del tercer punt. És per això que en aquesta tesi, s’analitza i caracteritza la distribució estadística dels descriptors més comuns de timbre, to i volum. El nostre treball mostra que contràriament al què s’assumeix, els descriptors no pertanyen a l’univers Gaussià sinó que es distribueixen segons una distribució de “cua pesada”. Aquest descobriment ens permet proposar nous algorismes que evidencien millores importants sobre els algorismes BoF utilitzats actualment en diferents tasques com la classificació del gènere, la detecció d’instruments musicals i l’etiquetatge automàtic de música. Ens permet també proposar noves tasques com la mesura de l’evolució temporal de la música popular occidental. Finalment, presentem algunes prometedores línies d’investigació per a tasques de MIR ubicades a partir d’ara en un univers de “cua pesada”.
Blake, Michael Joseph. "The New Harmony: An Adaptive Reuse Transit Hub." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/34664.
Повний текст джерела
My thesis exploration attempts to continue this tradition in the context of an increasingly accelerating speed of life, and the new, environmentally sensitive role of the machine. Just as Jazz poeticized the hectic rhythms of the industrial age, I believe that architecture should be conceived of as a synchronizing element within the contemporary urban landscape. Through my design of an adaptive reuse transit hub, my intent was to embrace the temporal in a manner that not only reflects the spirit of the age, but also creates musical architecture.
Master of Architecture
Artjomenkov, Nikolai. "Laborativt arbete inom fourieranalys och motivation till matematikinlärning : Utvärdering och vidareutveckling av en laboration inom fourieranalys och ljudbehandling vid Vetenskapens Hus." Thesis, KTH, Lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-246151.
Повний текст джерелаThis thesis investigates the ability of a lab exercise in House of Science (Vetenskapens Hus),Stockholm, to create bridges between upper-secondary school students’ knowledge, university mathematics and practical application of that knowledge, thus increasing their motivation and interest to learn more mathematics and physics. The topic of the lab exercise is Fourier analysis and its practical application in Digital Sound Processing (DSP). The lab exercise deals with mathematics, physics and IT-technology thus making the activity interdisciplinary. An important part of the work is also to improve this lab exercise based on the results of this study. The result is based on qualitative data from interviews, questionnaires filled by students and their teachers and also on literature studies. Some data is also collected through an iterative process of improving the lab exercise. This report starts with justification for conducting this work, setting the goals and objectives and formulating main questions. Then the methods, which were used in order to answer these questions, are described. The middle part of the report summarizes literature and research studies in education, interest and motivation of students and also summarizes a scientific basis for the content of the school program in Fourier analysis. Next, the development process of the school program is described. This is followed by a presentationof the results of testing the school program with upper secondary school students with regard to how their interest and motivation are affected by it. The report ends with a discussion of these results and its credibility. The result shows that the final version of the lab exercise, that is modified within the framework of this study, wakes students’ interest and motivation towards the topic of the exercise. The result also shows that some complex concepts (both new and those which are learned in school) become clearer for the students after the exercise which could potentiallylead to an increase in their motivation for learning the mathematics and physics in general. The problem is that the lab exercise was tested on too few classes for being able to generalize the result over the whole target group of the upper-secondary school students.
Maseko, Mandla Selby. "An impact analysis of provincial music hubs." Thesis, 2017. https://hdl.handle.net/10539/24762.
Повний текст джерелаAmerican film producer, Jason Berman reminds us that music is something the rest of the world wants to listen to; our job is to make sure they pay for it (Matzukis, 2013). When a piece of music is written, a legal right to it comes alive and is vested in the songwriter (author), but if that piece of music is later recorded, a totally different copyright vested in the record company comes alive (Matzukis, 2013). Unfortunately, it appears that the majority of local music role players, particularly composers, producers and performers, are not sufficiently equipped with legal knowledge and common understanding of the music trade’s secrets, its ecosystem or the music industry value chain. The lack of knowledge and exposure is attributed to historically manifested control of the music markets by record companies owned by foreign multinational conglomerates. As a result, a large number of famous and popular local musicians have died penniless. This scenario is painted vividly in an online article titled “Why do our artists die poor?”, which cites Brenda Fassie and Simon Mahlathini Nkabinde as examples of artists who died poor because of bad decisions they made in their career, despite their fame and wealth of music compositions. (www.you.co.za/entertainment/why-do-artists-die-poor/#) In South Africa, the major constraints on the launching of a musical career are access to trade knowledge and the means of production, such as recording facilities (Jordan, 2009).The Southern African Music Rights Organization’s empirical research shows that international music still dominates the South African music market, with 74% of music sold and played on broadcasting and public platforms (Samro, Notes, November 2014, p 13). As a result, the majority of local independent music composers, producers and performers are forced to share the remaining 26% of the music market. This situation worsens when widening the scope to include music role players who are located outside of urbanised provinces such as Gauteng and Western Cape, because most of them lack access to adequate and professional recording studios; lack basic knowledge on ownership of compositions and sound recordings rights; lack the skill to interpret the copyright laws; lack understanding of contractual issues between the artist and record company; lack understanding of the exportation trade; lack the means to submit their audiovisual works for airplay and lack adequate resources to build their brands for competitiveness. Since 2006 the South African music industry has seen an increase in government expenditure on and investment in musical institutions, at national and provincial levels, which are defined in this study as “music hubs”. In 2006, the Eastern Cape Audio Visual Centre (ECAVC) was established in East London (Eastern Cape Province); in 2009/2010, the KZN Music House was established in Durban (KwaZulu-Natal) and in 2008, the Downtown Music Hub was established in Johannesburg (Gauteng Province). The rationale to establish these music hubs is to ease access to the means of production for a large number of local music composers, producers and performers. The purpose of this impact analysis study is evaluate to what extent these music hubs are fulfilling their redress and transformation policy mandate to be beacons of hope for the local music industry. The theoretical grounds of this research study are premised on the concepts of transformation to create access for previously marginalized groups and black economic empowerment for local music role players. This research will unpack how these music hubs, in South Africa, can be used as tools for redress and to transform the music industry into an equitable market for all role players. Although government, at national and provincial level, shows commitment to establishing musical institutions that aim to combat the challenges facing the local music role players as outlined above, it is regrettable that the two music hubs (case studies) in the respective provinces are battling to position themselves as provincial music industry center pieces that create a competitive provincial music ecosystem and network to connect and empower local music industry role players. In 2009, the former minister of arts and culture, Pallo Jordan, in his speech at the launch of the Downtown Music Hub, indicated that the purpose of establishing the music hubs was to lower the barrier by making recording facilities, music manufacturing plants, music distribution channels and music stores more accessible to the most qualifying music role players (Jordan, 2009). This means that if these music hubs are understood as the music development trajectory in South Africa and well implemented, they have the potential to help local music industry role players become more competitive and perform on global music market platforms.
XL2018
Dollman, Emily Kate. "Orchestral education programmes : a study of Australian and British models." Thesis, 2016. http://hdl.handle.net/2440/103771.
Повний текст джерелаThesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2016.
Chu, Hsueh Mei, and 薛梅珠. "Memory, composition and ethnic consciousness:a study of De-Fu Hu's music." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/34383685520084616598.
Повний текст джерела國立臺灣藝術大學
表演藝術研究所
96
The study on Taiwan aboriginal music has been mainly about oral music. However, the works composed by aboriginal artists has been richer and more complex. Among aboriginal artists, De-Fu Hu is one of the leading figures. He has started composing since 1970. One of the well-know features of his music is that his works are done independently from composing to performing, which is the ability that young aboriginal artists lacks. Hu’s works are not about romantic themes but about the issues that aboriginals have encountered. Hu’s choices to discuss those issues in his works have resulted from his life experiences. This research is composed of three aspects through interview with Hu. First is the “memory,” and this section is the retrospect of Hu’s life from birth to 2007; second, the “musical creation,” the analysis of his music and the features of his works. The last is the exploration on how the “ethnic consciousness” has been formed and later presented in his works.
Книги з теми "Music hubs"
Feiler, Jesse. Making movies, photos, music & DVDs on your Mac: Using Apple's digital hub. Berkeley, Calif: McGraw-Hill/Osborne, 2002.
Знайти повний текст джерелаDawson, C. J. Music education at a distance: A hub class trial in the study of music theory using communications technology : report. [Adelaide}: Education Technology Centre, Education Dept., South Australia, 1986.
Знайти повний текст джерелаLes musiciens liégeois au service des Habsbourg d'Autriche au XVIème siècle. Tutzing: Hans Schneider, 2006.
Знайти повний текст джерелаO'r ochor arall. Llanrwst: Gwasg Carreg Gwalch, 2012.
Знайти повний текст джерелаBeah, Ishmael. Ver van huis: Herinneringen van een kindsoldaat. Amsterdam: Sijthoff, 2007.
Знайти повний текст джерелаJones, Edward Huws. Early Music Fiddler (Huws Jones Fiddle). Boosey & Hawkes Music Publishers Ltd, 2000.
Знайти повний текст джерелаHub, The Hub The, John Bischoff, and Ludger Brummer. Hub: Pioneers of Network Music. Kehrer Verlag Heidelberg, Klaus Kehrer, 2022.
Знайти повний текст джерелаHub City Music Makers: One Southern Town's Popular Music Legacy. Holocene Publishing, 1997.
Знайти повний текст джерелаMilne, A. A. Hums of Pooh. Farshore, 2003.
Знайти повний текст джерелаThe Hub: Edinburgh's festival centre : Cafe Hub, ticket centre, music and book shop : [leaflet]. Edinburgh: [The Hub], 1990.
Знайти повний текст джерелаЧастини книг з теми "Music hubs"
Kiwan, Nadia, and Ulrike Hanna Meinhof. "Metropolitan Hubs in the South." In Cultural Globalization and Music, 50–83. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305380_3.
Повний текст джерелаKiwan, Nadia, and Ulrike Hanna Meinhof. "Capital Cities as Global Hubs." In Cultural Globalization and Music, 87–120. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305380_4.
Повний текст джерелаSeman, Michael. "Punk Rock Entrepreneurship: All-Ages DIY Music Venues and the Urban Economic Landscape." In Creative Hubs in Question, 229–44. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-10653-9_12.
Повний текст джерелаMert, Ceren. "Istanbul’s Sounds and Its ‘Creative’ Hubs: Creative Actors Articulating the City into Transnational Networks Through Music." In Creative Hubs in Question, 171–87. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-10653-9_9.
Повний текст джерелаNanopoulos, Alexandros. "Detecting Hubs in Music Audio Based on Network Analysis." In Lecture Notes in Computer Science, 302–11. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-03798-6_31.
Повний текст джерелаAlexander, Phil. "The Music in Berlin: Musical Networks." In Sounding Jewish in Berlin, 27–93. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190064433.003.0002.
Повний текст джерелаGiddings, Steve. "Other Considerations." In Technology for Unleashing Creativity, 162–86. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197570739.003.0011.
Повний текст джерелаMercer-Taylor, Peter. "Heyday." In Gems of Exquisite Beauty, 134–93. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190842796.003.0005.
Повний текст джерелаNiebur, Louis. "The Machine Hums." In Music and the Broadcast Experience, 109–28. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199314706.003.0005.
Повний текст джерелаSharp, Daniel. "Of Mud Huts and Modernity." In Brazilian Popular Music and Citizenship, 291–312. Duke University Press, 2011. http://dx.doi.org/10.1215/9780822393603-018.
Повний текст джерелаТези доповідей конференцій з теми "Music hubs"
Velek, Viktor. "1848: Music, Master Jan Hus and Hussitism." In Međunarodni i interdisciplinarni simpozij Glazba, umjetnosti i politika: revolucije i restau- racije u Europi i Hrvatskoj 1815.-1860. (14 ; 2019 ; Zagreb). Hrvatska akademija znanosti i umjetnosti, 2021. http://dx.doi.org/10.21857/m16wjce649.
Повний текст джерелаRönnberg, Niklas, and Jonas Löwgren. "Photone: Exploring Modal Synergy in Photographic Images and Music." In The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.022.
Повний текст джерелаЗвіти організацій з теми "Music hubs"
Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.
Повний текст джерела