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Готові списки джерел за темами / Rap (Music)

Добірка наукової літератури з теми "Rap (Music)"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 5 березня 2023

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Статті в журналах з теми "Rap (Music)":

1

Djulianto, Hansen, and Gregorius Genep Sukendro. "Musik Rap Sebagai Budaya Hip-Hop di Mata Generasi Milenial (Studi Kasus Pelaku dan Penikmat Kolektif Dreamfilled)." Kiwari 1, no. 2 (May 31, 2022): 288. http://dx.doi.org/10.24912/ki.v1i2.15573.

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Music is an art that organizes a collection of tones into a sound that has a very close meaning in life. Hip hop is a lifestyle commonly known as culture, Rap music is a genre of Hip hop music that has been circulating since the 70s. Hip hop is a dynamic mix consisting of MCing/Rapping, DJing, Graffiti, Breakdancing, still attached to the current era of the millennial generation. Dreamfilled is one of the rap music collectives dominated by millennials who have a real movement in Hip hop in making songs or following culture, this can be correlated with subculture and fashion theories, there are also supporting theories used namely perception, lifestyle, music and culture. The author uses a qualitative method and selects 5 informants, including 3 rappers from the collective The Dreamfilled, 1 male rap music lover and 1 female rap music lover. The conclusion of this research is that the millennial generation and rap music lovers in the Dreamfilled collective continue to follow the subculture and fashion of Hip hop which is still being developed today and becomes a lifestyle.Musik merupakan suatu seni yang mengorganisasikan kumpulan nada nada menjadi suatu bunyi yang mempunyai arti sangat dekat dalam kehidupan. Hip hop merupakan gaya hidup yang biasa disebut dengan kultur, musik Rap merupakan salah satu genre musik Hip hop yang sudah beredar semenjak tahun 70an. Hip hop merupakan perpaduan dinamis yang terdiri dari MCing/Rapping, DJing, Graffiti, Breakdancing, masih melekat hingga era generasi milenial saat ini. Dreamfilled merupakan salah satu kolektif musik rap yang didominasi oleh generasi milenial yang memiliki gerakan nyata dalam Hip hop dalam membuat karya lagu maupun mengikuti kultur, ini dapat dikorelasikan dengan teori subkultur dan fashion, ada juga teori pendukung yang dipakai yakni persepsi, gaya hidup, musik dan budaya. Penulis menggunakan metode kualitatif dan memilih lima informan yang antara lain rapper dari kolektif The Dreamfilled, penikmat musik rap laki laki dan perempuan. Kesimpulan dari penelitian ini adalah generasi milenial pelaku dan penikmat musik rap di kolektif Dreamfilled ini tetap mengikuti subkultur dan fashion dari Hip hop yang masih terus dikembangkan hingga saat ini dan menjadi gaya hidup.

2

Bonnette, Lakeyta M. "Black Political Attitudes and Political Rap Music." Ethnic Studies Review 35, no. 1 (January 1, 2012): 157–75. http://dx.doi.org/10.1525/esr.2012.35.1.157.

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Many argue that political or message rap no longer exists. Scholars and critics point to rap music as a genre that is completely negative and only diminishes the progress of the Black community by offering and supporting stereotypes of African Americans (Johnson, Jackson and Gatto 1995; Carpentier, Knobloch and Zillman 2003). On the contrary, I argue that all rap music is not the same and that in fact, there is a subgenre in rap music, political rap, that discusses political issues and candidates exclusively. In this article, I proffer a criterion for identifying political rap music to demonstrate a distinction between the subgenres of rap and the prevalence of political rap within mainstream radio. Finally, I examine the lyrical content of political rap for the assertion of Black Nationalist ideology.

3

Gilmore, Jeremy. "Chance Encounters: Rap Music as a Relational and Pedagogical Resource in Clinical Pastoral Education." Journal of Pastoral Care & Counseling: Advancing theory and professional practice through scholarly and reflective publications 72, no. 1 (March 2018): 32–36. http://dx.doi.org/10.1177/1542305018754795.

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Music has long been regarded as a valuable tool for educators. Over the last three decades, rap music has grown to become a global phenomenon. However, due to historical and cultural factors, rap music is often underutilized in Clinical Pastoral Education. This article discusses the social significance of rap music, highlights how rap music informed my supervision of a clinical pastoral education student, and examines Chance the Rapper’s mixtape Coloring Book as a case study on the utilization of rap music as a relational and pedagogical resource in spiritual education.

4

Weitzer, Ronald, and Charis E. Kubrin. "Misogyny in Rap Music." Men and Masculinities 12, no. 1 (February 19, 2009): 3–29. http://dx.doi.org/10.1177/1097184x08327696.

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5

Thannoo, Babita. "Rap Music in Mauritius." Wasafiri 27, no. 4 (December 2012): 35–41. http://dx.doi.org/10.1080/02690055.2012.716595.

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6

Tyson, Edgar H. "The Rap Music Attitude and Perception (RAP) Scale." Journal of Human Behavior in the Social Environment 11, no. 3-4 (October 12, 2005): 59–82. http://dx.doi.org/10.1300/j137v11n03_04.

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7

Dixon, Travis L., Yuanyuan Zhang, and Kate Conrad. "Self-Esteem, Misogyny and Afrocentricity: An Examination of the Relationship between Rap Music Consumption and African American Perceptions." Group Processes & Intergroup Relations 12, no. 3 (April 17, 2009): 345–60. http://dx.doi.org/10.1177/1368430209102847.

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The aim of this study was to examine the relationships between African American audiences, rap music videos, Black collective self-esteem, and attitudes towards women. One-hundred and forty-one African American college students participated in a survey measuring their amount of rap music video viewing, collective self-esteem, Afrocentric identity, and their belief that rap degrades women. The results revealed that viewers who consumed more rap music videos also had a higher sense of collective self-esteem. Additionally, individuals who had strong Afrocentric features tended to identify with rap music videos that contained characters with strong Afrocentric features. Finally, consumption of misogynistic rap content was negatively related to the belief that rap music degrades women. These results are discussed in light of Allen's (1993, 2001) cultural lens perspective, Appiah's (2004) theory of ethnic identification and the priming paradigm. Suggestions are made for future research concerning African American audiences and rap music.

8

Tyson, Edgar H., Tiffany L. Brown, and Antoine Lovell. "The Intersection of Race, Gender, and Rap Music Perceptions: A Content Validation Study of the Rap-Music Attitude and Perception Scale." Urban Social Work 3, no. 1 (May 1, 2019): 25–50. http://dx.doi.org/10.1891/2474-8684.3.1.25.

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ObjectivesThis study examines the content validity of a newly developed measure, the Rap-Music Attitude and Perception (RAP) scale.MethodsUtilizing data from a racially diverse sample of undergraduate college students (N= 871), this investigation highlights an underutilized mixed method, qualitative–quantitative scale development approach, while investigating relationships between race, gender, and rap music views.FindingsResults indicate overlap between themes identified in participants' qualitative responses and RAP scale items. Furthermore, there were several within and between (race and gender) group differences in the endorsement of RAP scale items.ConclusionsImplications of these results support the utility of the RAP for examining perceptions of rap music and provide insight into how the intersection of race and gender relates to hip-hop music themes.

9

Wilson, Asif, and Daunte Henderson. "Ambitionz az a Teacha: understanding Contemporary Rap Music’s Pedagogical Implications." International Journal of Critical Media Literacy 2, no. 1 (September 7, 2020): 31–55. http://dx.doi.org/10.1163/25900110-00201003.

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Abstract This case study extends Elligan’s (2000, 2004) Rap Therapy model to explore the pedagogical usefulness of contemporary rap music. Methodologically, the authors borrow the testimonio from Latina Feminist Scholarship, to explore the ways in which young people participating in a summer literacy program analyzed their lives and the world through rap music; how rap music supported their healing; and how rap music was used as a pedagogical tool. Over the course of four months the co-authors of this study created and analyzed 17 co-written testimonios for their generative themes. The authors conclude with a presentation of The (Re) mix—a rap-centered pedagogical framework. The (Re) mix is made up of three, interconnected pillars. One, contemporary rap music (re)tells the experience(s) of the dispossessed. It helps shift the blame for oppression in the world towards the structures of society. Second, contemporary rap music (re)affirms young peoples’ existence. It provides them with an imaginative environment to imagine a more just world. Third, contemporary rap music (re)stores our humanity. It is a tool to name, connect, and move beyond our pain, creating a context for healing as individuals in a collective society. The authors hope that findings of this study empower other educators to infuse contemporary rap music into their pedagogies as a method for students to better read and write the world, adding to the body of knowledge related to critical media literacy.

10

Minard, Michael, and Lenore Pogonowski. "Rap: Music in Words, Words in Music." Soundings (Reston, VA) 2, no. 3 (April 1989): 30–32. http://dx.doi.org/10.1177/104837138900200311.

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Дисертації з теми "Rap (Music)":

1

Morgan, Andrea Scott. "Deconstructing myths about rap music /." View online, 1996. http://repository.eiu.edu/theses/docs/32211998826162.pdf.

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2

Zavortink, Matthew. "Analysis of Rhythm in Rap Music." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20418.

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Although the analysis of popular music has become widely accepted by theorists, rap and related genres are still relatively unexplored. The small body of existing literature suggests several promising analytic methods, such as the discernment and comparison of rhythmic layers within a song. This thesis reviews the current state of rap research and synthesizes a comprehensive theoretical model out of previously published sources and the author’s original ideas. This model is then used to investigate several case studies of varying complexity, revealing a number of previously undocumented musical devices and promising avenues for further research.

3

Lüdtke, Solveig. "Globalisierung und Lokalisierung von Rapmusik am Beispiel amerikanischer und deutscher Raptexte." Berlin ; Münster : Lit, 2007. http://books.google.com/books?id=4J-fAAAAMAAJ.

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4

Morrison, Karen Y. "Anne Bradstreet's rap : the music in her poetry /." View abstract, 2001. http://library.ccsu.edu/ccsu%5Ftheses/showit.php3?id=1658.

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Thesis (M.A.)--Central Connecticut State University, 2001.
Thesis advisor: Gilbert L. Gigliotti. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English Literature." Includes bibliographical references (leaves 62-64). Also available via the World Wide Web.

5

RAY, OLIVIA SUNDIATA. "SEXUAL VIOLENCE IN POPULAR RAP MUSIC AND OTHER MEDIA." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/618766.

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This paper examines the prevalence of sexual violence in American media with particular focus on attitudes of sexual violence as a contribution to rape culture. Included is a content analysis of the prevalence of sexually violent lyrics in popular rap music, and a literature review of articles and studies on the effects of sexually violent media. The media discussed in the literature review includes films, television, and pornography. The relationship between the presence of sexually violent media and its impact on public opinion on sexual assault and rape proclivity are analyzed. The literature reviewed includes studies on differences in response to sexually violent media based on gender. Also included are explanation and summary of a study utilizing the excitation transfer theory and the social learning theory as they apply to the understanding of the perpetuation of rape myth acceptance based in the viewing of sexually violent media. These studies utilize the rape myth acceptance scale, the acceptance of interpersonal violence scale, and the adversarial sexual beliefs scale, among other scales of measurement to assess rape myth acceptance and rape proclivity. The high prevalence of sexual assault in the United States calls for an analysis of the acceptance of beliefs that perpetuate sexual assault and the media which support and increase the presence of these beliefs.

6

Zemke-White, Kirsten. "Rap Music in Aotearoa: A Sociological and Musicological Analysis." Thesis, University of Auckland, 2000. http://hdl.handle.net/2292/97.

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This thesis examines rap music in Aotearoa, demonstrates its popularity, and explores its presence as a cultural commodity, particularly among Polynesian youth. I show how analysis of a popular musical phenomenon can be used to illustrate other social facts such as identity, political awareness, and alliance. American rap's history, musical characteristics, misogyny, profanity, racial implications, associations with deviance, and nihilism are explored, outlining multiple levels of meaning and intention, not excusing its occasional harshness, but presenting perspectives from within rap and critical race theory discourses. From interviews with school students, teachers, rappers, adults involved with young people and persons in the media industry, I show that, in Aotearoa, it is the Polynesian youth who have embraced rap, both as fans and as performers, from breakdancing in the early 80's to the latest surge of "Pasifika Hip Hop". Through observation and collection of videos, CD's, sales charts, magazines and news articles I conclude that American rap has had a strong presence in the media and popular music history of Aotearoa, with many local rap artists and songs having local chart successes. Through musical and lyrical analysis I summarise and compare the themes and musical influences of both American and Aotearoa rap and discover that Aotearoa rap is used to assert and construct local identities exploring race, culture and history. The thesis begs the question: Why is rap so popular particularly among Polynesian youth? Four responses are explored: a) The rappers themselves cite a similar socio-economic and historical circumstance to African Americans; b) Rap is a popular globalised popular cultural form, possibly representing a generalised trend in Americanisation and homogenisation, (which I refute on the basis of rap's inherent "blackness" arguing that hip hop is rather a voice of opposition); c) Rap as a genre has kaupapa [philosophy] and presents an ideal tool for the exigencies of Polynesian youth's exploration of identity and community and for the communication of political and pride; and finally d) The Polynesian youth of Aotearoa feel a spiritual connection to rap and hip hop, hearing something of themselves in it, and have taken to it like it was already theirs. I offer that rap has been a Turangawaewae [place to stand] for the rangatahi [youth] and they have injected this fertile African American popular music genre with their own culture and ideology.
Whole document restricted, but available by request, use the feedback form to request access.

7

Jordan, Augustus III. "A study of language and ideology in Rap Music." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1998. http://digitalcommons.auctr.edu/dissertations/3334.

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This study examined the language of Hip-Hop songs and ideology of the artists as reflected through their songs. The study was based on the theory that Hip-Hop or rap songs are legitimate artforms because of their use of poetic elements such as figuration, figures of sound, symbolism, and ambiguity. The study recorded and interpreted the lyrics of a few current rap songs for the purpose of investigating their poetical and ideological elements. The researcher found signification battles by some rap artists as the best examples of songs which express the richness and complexity of Hip-Hop music. The researcher found that both Hip-Hop music lyrics and standard poetry have many similarities, but also have a few different features which enhance their uniqueness. The conclusions drawn from the findings suggest that the main reason many critics do not consider Hip-Hop or rap music an artform, is that they either compare the music to something extremely different, or they simply do not take the time to listen to its songs. Rap Music is an artform that expresses poetic elements and utilizes electronic devices, thus making it a Postmodernist popular artform. Through the research, the researcher showed that rap music lyrics also have intense meaning, just like poetry..

8

Love, Bettina L. "Don't judge a book by Its cover an ethnography about achievement, rap music, sexuality & race /." Atlanta, Ga. : Georgia State University, 2008. http://digitalarchive.gsu.edu/eps_diss/28/.

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Thesis (Ph. D.)--Georgia State University, 2008.
Title from title page (Digital Archive@GSU, viewed June 10, 2010) Jennifer Esposito, committee chair; Jonathan Gayles, Richard Lakes, Carlos R. McCray, committee members. Includes bibliographical references (p. 201-228).

9

Mohammed-Akinyela, Ife J. "Conscious Rap Music: Movement Music Revisited A Qualitative Study of Conscious Rappers and Activism." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/aas_theses/14.

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The purpose of this study is to explore how conscious rap is used as a form of activism. Interviews of conscious rappers based in Atlanta, GA were used to understand this relationship. In order to complete this investigation, ten unsigned conscious rappers were given a series of questions to explore their involvement as activist; some of these artist were also recruited based on affiliations with political organizations based in Atlanta, GA. By gathering interviews from conscious rappers who consider their music as a form of activism, scholars of African American Studies may further understand the role of music and political activism when mobilizing the African American and minority communities.

10

Miyakawa, Felicia M. "Five percenter rap : God Hop's music, message, and black muslim mission /." Bloomington : Indiana university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb40037113d.

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Книги з теми "Rap (Music)":

1

Keeley, Jennifer. Rap music. San Diego, Calif: Lucent Books, 2001.

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2

Berlatsky, Noah. Rap music. Detroit: Greenhaven Press, 2012.

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3

Noël, Merino, ed. Rap music. Farmington Hills, MI: Greenhaven Press, 2008.

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4

Lantz, Francess Lin. Rock, rap, and rad: How to be a rock or rap star. New York, N.Y: Avon Books, 1992.

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5

Greenberg, Keith Elliot. Rap. Minneapolis: Lerner Publications Co, 1988.

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6

Noel-Schure, Yvette. Rap! New York, N.Y: Parachute Press, 1990.

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7

Greenberg, Keith Elliot. Rap. Minneapolis: Lerner Publications Co., 1988.

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8

Greenberg, Keith Elliot. Rap. Minneapolis: Lerner Publications Co., 1988.

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9

1963-, Burns Kate, ed. Rap music and culture. Detroit: Greenhaven Press, 2008.

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10

Stancell, Steve. Rap whoz who: The world of rap music. New York: Schirmer Books, 1996.

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Частини книг з теми "Rap (Music)":

1

Chanh, Nguyen Quoc. "Rap Music." In Of Vietnam, 19. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1057/9780230107410_3.

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2

Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Rap and Hip-Hop." In Anthology to Accompany Gateways to Understanding Music, 428–29. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-56.

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3

Diallo, David. "Intertextuality in Rap Lyrics." In Collective Participation and Audience Engagement in Rap Music, 85–102. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-25377-6_6.

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4

Lipenga, Ken. "Locating Rap in Malawi’s Music Industry." In Rap Music and the Youth in Malawi, 7–36. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-15251-1_2.

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5

Diallo, David. "Call-and-Response in Rap Music." In Collective Participation and Audience Engagement in Rap Music, 5–24. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-25377-6_2.

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6

Smith, Gareth Dylan. "Rap, Racism, and Punk Pedagogy." In Difference and Division in Music Education, 108–27. New York : Routledge, 2020. | Series: ISME global perspectives in music education: Routledge, 2020. http://dx.doi.org/10.4324/9780429278525-10.

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7

Fatsis, Lambros. "Decriminalising Rap Beat by Beat." In Music in Crime, Resistance, and Identity, 63–77. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003186410-6.

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8

Gamble, Steven. "Individual empowerment in rap and metal music listening." In How Music Empowers, 41–65. [1.] | New York : Taylor & Francis, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429323034-3.

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9

Lipenga, Ken. "The Language of Malawian Rap." In Rap Music and the Youth in Malawi, 37–61. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-15251-1_3.

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10

Palma-Martos, María Luisa, Manuel Cuadrado-García, and Juan D. Montoro-Pons. "Breaking the Gender Gap in Rap/Hip-Hop Consumption." In Music as Intangible Cultural Heritage, 51–65. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_5.

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AbstractSome music genres have traditionally and mainly been consumed by men. This is the case of rap/hip-hop. However, data on the consumption of this genre in recent years shows a relevant increase in the number of women interested in this type of music. It would therefore seem to be pertinent to analyse this new trend, not only as a question linked to gender studies but also to marketing decision-making for the music industry, which is struggling to attract new audiences, a factor compounded in the pandemic. To frame this analysis, literature on music consumption, specifically in relation to gender and rap as an alternative music genre, has been reviewed from different approaches. An exploratory survey was conducted to obtain an insight into rap/hip-hop consumption and appreciation by gender. Results show that rap concert attendees’ satisfaction and interest in this kind of music are high, irrespective of gender. Only knowledge, which has not been as extensively studied, seems to be different between men and women, with this factor being slightly higher for the former. In addition, the identification of three clusters (involved, apathetic and hedonists), including both women and men, leads us to suggest that the gender gap in rap/hip-hop consumption is closing.

Тези доповідей конференцій з теми "Rap (Music)":

1

Baussard, A., and T. Boutin. "Time-Reversal RAP-MUSIC Approach." In 2007 International Conference on Electromagnetics in Advanced Applications. IEEE, 2007. http://dx.doi.org/10.1109/iceaa.2007.4387257.

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2

French, Kenneth. ""Topomusica" in rap music: Role of geography in hip-hop music." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.18.

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3

Wu, Ming-Ju, Chun-Hung Lu, and Jyh-Shing Roger Jang. "Automatic conversion from speech to rap music." In 2014 International Conference on Electrical Engineering and Computer Science (ICEECS). IEEE, 2014. http://dx.doi.org/10.1109/iceecs.2014.7045255.

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4

Hayashi, Masaki, Steven Bachelder, Masayuki Nakajima, and Yoshiaki Shishikui. "Rap music video generator: Write a script to make your rap music video with synthesized voice and CG animation." In 2017 IEEE 6th Global Conference on Consumer Electronics (GCCE). IEEE, 2017. http://dx.doi.org/10.1109/gcce.2017.8229189.

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Araújo, Carlos V. S., Rayol M. Neto, Fabiola G. Nakamura, and Eduardo F. Nakamura. "Using Complex Networks to Assess Collaboration in Rap Music." In Webmedia '17: Brazilian Symposium on Multimedia and the Web. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3126858.3131605.

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Lestari, Sri. "Student’s Perception of English Learning by Using Rap Music Media." In 1st Borobudur International Symposium on Humanities, Economics and Social Sciences (BIS-HESS 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200529.132.

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Watkins, Lee. "Blackness transmuted and sinified by way of rap music and hip hop in the new China." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.38.

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Migliore, Olivier, and Nicolas Obin. "At the Interface of Speech and Music: A Study of Prosody and Musical Prosody in Rap Music." In 9th International Conference on Speech Prosody 2018. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/speechprosody.2018-113.

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Nedyalkov, Ivaylo. "The Fluids Rap: It’s All About Flow." In ASME 2020 Fluids Engineering Division Summer Meeting collocated with the ASME 2020 Heat Transfer Summer Conference and the ASME 2020 18th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/fedsm2020-20303.

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Анотація:

Abstract Most of the currently-enrolled undergraduate engineering students grew up with exposure to social media websites like Facebook and Youtube. Making sure that students are not distracted by their mobile devices in class has become more challenging, and one way to address the issue is to present engineering in a more entertaining and engaging way. A rap song about fluid mechanics was created by the author for entrainment, outreach, and education purposes. The song covers the fundamentals of fluid mechanics and mentions some theoretical basics, as well as some of the most widely used computational fluid dynamics and experimental fluid dynamics techniques. The song was written with the intention to be entertaining and educational — the goal was that someone with no prior fluid mechanics background will be able to understand it after spending 10–20 minutes reading through the lyrics explanations. A music video was produced for the song. The video production was sponsored by the American Society of Mechanical Engineers and includes visuals of experimental facilities and equipment. The paper provides the background of the project, marketing plans, some of the lessons learned, the lyrics, and the explanations of the lyrics.

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Arnus, S., Mansur Mansur, A. Utomo, and Fadlullah Fadlullah. "Halal Remix in Rap Deen Squad Music Genre: Expression of Islamic Identity of Millennial Muslims." In Proceedings of the 19th Annual International Conference on Islamic Studies, AICIS 2019, 1-4 October 2019, Jakarta, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.1-10-2019.2291722.

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Звіти організацій з теми "Rap (Music)":

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Tran, C. V. Cramer-Rao Bound, MUSIC, and Maximum Likelihood. Effects of Temporal Phase Difference. Fort Belvoir, VA: Defense Technical Information Center, November 1990. http://dx.doi.org/10.21236/ada230259.

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