Academic literature on the topic 'Contemporary instrumental music'

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Journal articles on the topic "Contemporary instrumental music"

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Wilks, John. "The Contemporary Instrumentalist." British Journal of Music Education 6, no. 1 (1989): 37–53. http://dx.doi.org/10.1017/s0265051700006823.

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The study of avant-garde music has been largely neglected by instrumental tuition. Yet such work is not necessarily difficult on either the ears or the fingers – provided it is begun at the earliest stages of study. Indeed, it is the delayed introduction that is the cause of many of the problems seen in accepting and enjoying contemporary music. There is need for systematisation and for the composition of suitable music.
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Conway, Paul. "Huddersfield Contemporary Music Festival 2012." Tempo 67, no. 264 (2013): 66–69. http://dx.doi.org/10.1017/s0040298213000089.

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As diverse and inquiring as ever, the 35th Huddersfield Contemporary Music Festival provided nine days of unfamiliar and rarely encountered repertoire, sometimes rewarding, sometimes baffling, but always worth sampling. The 2012 late-November celebration of avant-gardism placed an emphasis on Norway and the voice in its many guises, both strands exemplified by the choice of Trondheim-born vocalist Maja S. K. Ratkje as composer-in-residence. Yet despite this spotlight on vocal and choral works, there was no shortage of instrumental and chamber music, most of it new to Britain.
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KORCZYNSKI, MAREK, and KEITH JONES. "Instrumental music? The social origins of broadcast music in British factories." Popular Music 25, no. 2 (2006): 145–64. http://dx.doi.org/10.1017/s0261143006000882.

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This paper explores the social origins and development of music relayed through loudspeakers in British factories during World War Two, focusing on the BBC programme Music While You Work, which provided a national soundtrack for factory work, and the contemporary institutions of Industrial Psychology, which promoted music as a highly ‘valuable’ accompaniment to work and formulated scientific principles governing its broadcast. Combining archival evidence from these organisations, the paper first outlines the historical circumstances of development, detailing the form of broadcasts and of the m
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Zadnik, Katarina. "Primary Music School Education in Slovenia and Montenegro." Musicological Annual 55, no. 1 (2019): 195–210. http://dx.doi.org/10.4312/mz.55.1.195-210.

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Comparison of primary music school education in Slovenia and Montenegro showed distinctive historical development. Contemporary education lasts for 10 years in Slovenia, 9 years in Montenegro. Enrolment in Slovene system is available for 5-year-olds, in Montenegro, for 6-year-olds. Curricula encompass music-theoretical and instrumental subjects, Slovene concept includes more instrumental areas.
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Nenic, Iva. "We are not a female band, we are a band!”: Female performance as a model of gender transgression in Serbian popular music." Muzikologija, no. 19 (2015): 135–56. http://dx.doi.org/10.2298/muz1519135n.

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Instrumental performance, leadership, and authorship by women in music has historically been subjected to various repressive regimes, while many of the prejudices and restrictions regarding female musicking can still be discerned in contemporary popular music practices in Serbia. These mechanisms have been transferred into contemporary music with different ideological and stylistic inclination, such as indie music cohorts and folk- or tradition-based genres and scenes. The structural preconditions that articulate the subject position of female instrumentalists, regardless of genre or the scene
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O’Callaghan, James. "Mimetic Instrumental Resynthesis." Organised Sound 20, no. 2 (2015): 231–40. http://dx.doi.org/10.1017/s1355771815000114.

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This article provides a brief survey of composition in which field recordings or other referential sounds are transcribed for acoustic instruments. Through a discussion of how electroacoustic music and scholarship have conceptualised the notion of mimesis, and how various forms of contemporary acoustic music have adopted electroacoustic techniques, it identifies a recent musical practice in which these concerns are brought together. The article proposes the term mimetic instrumental resynthesis as a way of describing the common threads behind works that employ electronic-assisted or computer-a
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Suan, Chong Lee. "Why the Ancient Musical Essence is Still Retained in Dusun Tindal's Instrumental Music within its Modern Community?" GATR Global Journal of Business Social Sciences Review 3, no. 3 (2015): 24–31. http://dx.doi.org/10.35609/gjbssr.2015.3.3(3).

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Objective - This paper examines Dusun Tindal's instrumental music practice within the context of modernity of the society in Tenghilan, a town that is located on northwest Sabah. The study looks into the driving modish musical styles and forms in the root of the ancient traditions especially in the aspects of musical natures, music compositions, musical functions, and philosophies. Methodology/Technique - The contemporary musical ensemble is a newly developed tradition combining a mixture of traditional and western musical instruments and styles. Due to the new mindsets and tastes of their you
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Hughes, Bernard. "MAGICAL THEATRES: THE MUSIC OF PARAM VIR." Tempo 58, no. 228 (2004): 2–13. http://dx.doi.org/10.1017/s0040298204000099.

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Param Vir was born in Delhi in 1952 and has lived and worked in Britain since 1984. His greatest success has been in opera, and the two orchestral works in his catalogue also testify to a remarkable theatrical sensibility. Vir's music embodies and feeds off the contradictions of his life. Although rooted firmly in the modernist aesthetic of Western contemporary music, Vir's Indian background and education have left a mark on his music. His emigration has resulted in alienation from a national identity, leaving him an outsider both in India and Britain. He is contracted to a venerable English p
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Martinez, Emilie. "Remember Gerhard Richter in the Thunderstorm of Beethoven: The Influence of Cross-Sensory Coupling on Memory, Intercultural Communication, and the Verbalization of Paintings and Sounds." Research in Language 11, no. 4 (2013): 445–61. http://dx.doi.org/10.2478/rela-2013-0001.

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Abstract This interdisciplinary study focuses on the perception and verbalization of messages conveyed through instrumental music, soundscapes, and contemporary paintings. International young-adult university students learning German participated in a series of experiments conducted at Friedrich Schiller University in Jena, Germany. To incorporate globalization and cultural difference into this analysis, the author compared the reactions of Western and Asian participants to auditory and visual stimuli. This paper explores the concepts of mixed media, cross-sensory coupling, and esthetic synest
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GROVES, STEPHEN. "The Sound of the English Picturesque in the Age of the Landscape Garden." Eighteenth Century Music 9, no. 2 (2012): 185–212. http://dx.doi.org/10.1017/s1478570612000048.

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ABSTRACTIn eighteenth-century England, painting, poetry and gardening were often labelled the ‘sister arts’. An increasing interest in English landscape scenes and an emerging taste for ‘nature tourism’ gave rise to the ‘picturesque’ movement. Contemporary writers seldom considered English music as part of this ‘sisterhood’, however, or treated music as a medium for conveying national scenic beauty. When the picturesque was discussed in connection with music, eighteenth-century critics tended to use the concept to explain the tactics of novelty and surprise encountered in German instrumental m
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Dissertations / Theses on the topic "Contemporary instrumental music"

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Beard, David Jason. "An analysis and sketch study of the early instrumental music of Sir Harrison Birtwistle (c. 1957-77)." Thesis, University of Oxford, 2000. https://ora.ox.ac.uk/objects/uuid:ee15bc81-ef25-4c50-9e3a-365b70e69cbb.

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Sir Harrison Birtwistle is one of Britain's leading contemporary composers. His intellectually challenging music has so far proved difficult to analyse. This thesis aims to account for the significance of Birtwistle's earliest published works, commenting on existing analyses, developing new approaches and, where available, drawing on the composer's own sketches, drafts and other manuscripts, reflecting my belief that the early music represents a clear blueprint for later works. The thesis is in two parts. The first consists of chapters 1 and 2, which deal with works for which no sketch materia
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Thompson, Shirley J. "Towards a new aesthetic in contemporary instrumental ensemble, vocal and chamber opera composition." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/13862.

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This submission for the degree of Doctor of Philosophy focuses on works for large instrumental ensemble in conjunction with the voice. Instrumental ensemble and vocal mediums such as the orchestral art song, the song cycle and the opera in one act, provide platforms to explore the expressiveness of the lyrical dramatic voice and the dialectic tension between composing for the solo voice with a range of instrumental ensemble forces. The portfolio of compositions includes the orchestral song, The Woman Who Refused to Dance; the orchestral song trilogy, Spirit Songs; and the opera in one act, Que
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Bonduki, Said Athié. "A noção de morfologia na música instrumental centro-europeia do pós-guerra." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-22102018-185948/.

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Esta tese se volta para a questão da morfologia em música através de duas atuações complementares em torno da música contemporânea, a composição e a pesquisa teórica. Ambas práticas desenvolvidas de modo complementar. A pesquisa aqui exposta estuda diferentes abordagens sobre a noção de morfologia na música contemporânea, elaboradas por compositores ao longo da segunda metade do século XX. São analisadas proposições voltadas sobre tal temática com o intuito de evidenciar novas aberturas sobre a criação musical e sobre o pensamento composicional, que surgem a partir de perspectivas morfológicas
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Purves, R. M. "Young people's access to local authority instrumental music tuition in England : a historical and contemporary study." Thesis, University College London (University of London), 2017. http://discovery.ucl.ac.uk/1563583/.

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This thesis traces young people’s ability to access local authority music service instrumental tuition in England from the Second World War to the present. It explores a range of social, economic, political and geographical factors that have impacted, and may continue to impact, on the provision and take-up of this tuition. The research adopts a Bourdieusian social praxeological framework and has been undertaken in two phases. Phase 1 is a historical documentary analysis of the development of local authority music services, with a contextualised focus on participation and perceived value. This
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Nkosi, A. D. "Modern African classical drumming : a potential instrumental option for South African school Music curriculum." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/43292.

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The Curriculum and Assessment Policy Statement or CAPS (which is the modified extension of the National Curriculum Statement policy), Music learning area, gives an option for Music learners to follow the Indigenous African Music (IAM) stream. This caters for them to be examined in African instruments. Currently, there are no available prescribed instrumental curricula in any IAM instrumental practices that learners can follow should they choose the IAM stream. Therefore, this research was prompted by the need for graded curriculum in IAM instruments for Music learners at the Further Edu
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Ponce, Jason Benjamin. "Fractured bodies gesture, pleasure, and politics in contemporary computer music performance /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p1447328.

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Thesis (D.M.A.)--University of California, San Diego, 2007.<br>Title from 1st page of PDF file (viewed Mar. 5, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 50-55.
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Markoff, Irene Judyth. "Musical theory, performance and the contemporary Bağlama specialist in Turkey /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11351.

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Henderson, Flora. "Contemporary composition for shakuhachi and western instruments : timbral gesturality in the analysis of cross-cultural music." Thesis, SOAS, University of London, 2015. http://eprints.soas.ac.uk/23680/.

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Hessel, Eric. "Addressing Technical and Musical Demands of Contemporary Music for Horn through Newly-Composed Etudes." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538667/.

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Contemporary music for horn often requires techniques and musical or notational considerations that are unconventional with respect to the standard pedagogy of the instrument. As such, these considerations often represent a level of challenge to which the average-intermediate to advanced-hornist is unprepared to approach or altogether unfamiliar. The most prominent of these demands arising in the last few decades of the twentieth century through today include microtonality (such as extended just intonation and quarter tones), extended techniques in combination or juxtaposition (such as multiph
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Santos, Bruno Soares. "Instrumentos marginais de percussão na música contemporânea: uma expansão técnico-interpretativa de instrumentos latino-americanos." Doctoral thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/17030.

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Doutoramento em Música<br>O presente trabalho propõe-se a investigar estruturas interpretativas em obras para instrumentos latino-americanos explorando os conceitos de ‘instrumento marginal’ e ‘literatura menor’. Esta investigação desenvolveu-se através de três estudos de caso. O primeiro estudo de caso concentra-se na obra Temazcal de Javier Alvarez para maracas e tape. O segundo foca-se no repertório para tambores de mão latino-americanos. O terceiro sugere uma estrutura para uma improvisação para pandeiro brasileiro e pedais de efeito.<br>The present work proposes to investigate inte
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Books on the topic "Contemporary instrumental music"

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Barrett, Bob. Contemporary music styles. Taylor Made Music, 1996.

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Wyrtzen, Don. Piano worship: Meditations for sunday. Singspiration, 1991.

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Sundin, Nils-Göran. Aesthetic criteria for musical interpretation: A study of the contemporary performance of western notated instrumental music after 1750. University of Jyväskylä, 1994.

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Sterling, Robert. Songs in the key of love: 12 arrangements for vocal ensemble or contemporary choir. Word Music, 1996.

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Barrett, Bob. Synthesizers in praise & worship: The keyboardist's guide to electronic orchestration. Taylor Made Music, 1997.

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Wajler, Zig. World beat fun: Multicultural and contemporary rhythms for K-8 classrooms. Warner Bros. Publications, 2002.

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French pianism: An historical perspective : including interviews with contemporary performers. Pro/Am Music Resources, 1992.

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Mantooth, Frank. Voicings for jazz keyboard: A comprehensive approach to contemporary keyboard voicings for the performer, arranger, teacher, jazz theorist. Hal Leonard Pub. Corp., 1986.

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Dewey, John. The influence of Darwin on philosophy and other essays in contemporary thought. Southern Illinois University Press, 2005.

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Oboe Unbound: Contemporary Techniques. Rowman & Littlefield Publishers, 2014.

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Book chapters on the topic "Contemporary instrumental music"

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Tillman, Joakim. "Solo Instruments and Internal Focalization in Dario Marianelli’s Pride & Prejudice and Atonement." In Contemporary Film Music. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57375-9_11.

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McCandless, Greg, and Daniel McIntyre. "Recording and Editing Live Instruments." In The Craft of Contemporary Commercial Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315680330-15.

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Habbestad, Bjørnar. "No Flute Is an Island, Entire of Itself. Transgressing Performers, Instruments and Instrumentality in Contemporary Music." In Musical Instruments in the 21st Century. Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2951-6_20.

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"The contemporary context of whole class instrumental and vocal teaching." In Making Music in the Primary School. Routledge, 2010. http://dx.doi.org/10.4324/9780203834572-11.

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Török, Ágnes. "The Notation of the 20th and 21st Century Choral Music." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/3.

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The Avant garde schools required a notation style different from the traditional one both in instrumental and vocal music. This study points to the historical background of contemporary notation and the interdependence of the graphic representation of sound and notation. The illustrations are primarily quotes selected from the Hungarian choir literature and further material is used to introduce the authentic elements used for modes of expression. Key words: choral music, contemporary musical notation, graphic elements, chance
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Tooke, Daniel. "Prokofiev and the Soviet Symphony." In Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0005.

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The contrasting fates of Prokofiev’s last three symphonies vividly illustrate the problematic status of the symphony during the Stalinist period, because of its inherent difficulty in satisfying a key tenet of Socialist Realist aesthetics: that all art should communicate ideological engagement. While t Fifth Symphony (1944) was immediately acclaimed as a major contribution to Soviet symphonism, the Sixth (1945–47) was roundly condemned during the anti-cosmopolitanism campaign of 1948; and although the Seventh (1951–52) won official approval, it was widely regarded as an artistic failure resulting from enforced compromise. That music critics tended to focus primarily on the putative ideological content of abstract instrumental works, and to downplay suggestions of foreign influence, often led them to advance highly questionable interpretations of the music’s import. This chapter draws on a range of contemporary music criticism and archival materials, which have clouded objective perception of both the Soviet symphony and Prokofiev’s later instrumental works.
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McManus, Laurie. "Imperatives of Purity and Sensuality." In Brahms in the Priesthood of Art. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190083274.003.0002.

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This chapter analyzes the factors contributing to the debates over musical purity and sensuality that had formed a significant thread of music criticism by the early 1850s, when Brahms began his career. The construction of purity developed in two interrelated ways: First, through the German Romantic valuation of music from Bach and earlier; this early music’s contrapuntal techniques and mostly diatonic harmony were praised as pure and moral by a range of commentators from E. T. A. Hoffmann to Justus Thibaut to Dominicus Mettenleiter. Second, in Eduard Hanslick’s famous 1854 treatise, Vom Musikalisch-Schönen, he attempted to divorce music from its extra-musical and political contexts; nonetheless, his argument retained the connotations of moral superiority while claiming purity for contemporary instrumental music. Pure music stood in opposition to Wagnerian sensuality, a Young Hegelian development that presented revisionist notions not only of opera but also of music’s meaning and communicative power. In this context, ideas of musical purity came under fire just as Brahms began his compositional career.
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Appert, Catherine M. "Remembering the Griot." In In Hip Hop Time. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190913489.003.0003.

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This chapter locates Senegalese hip hop at the intersection of local musical history, transatlantic Afrocentric dialogue, and the accelerated globalization of the 1980s. It traces the historical invention of the griot through colonialism, religious conversion, and postcolonial nationalist projects, while showing how griot instrumental and vocal performance practices provided a foundation for Senegal’s preeminent popular music, mbalax. It details how early international rappers, including Positive Black Soul (PBS) and Daara J, in line with a history of Afrocentric and pan-African projects in which they were well versed, traced an alternative history that routed the griot through diaspora and “back” to Africa, bypassing contemporary griot performance and mbalax in the process. It argues that this was not a literal claim to hip hop origins, but a strategic project of remembering that claimed diaspora as an alternative local history.
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White, Harry. "The Steward of Unmeaning Art." In The Musical Discourse of Servitude. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190903879.003.0004.

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Two principal themes are engaged in this chapter: the recent history of Bach reception in which the composer’s autonomy is drastically reconfigured, and the nature of Bach’s pursuit of the musical subject as a primary signature of that autonomy nevertheless. The first of these themes, which takes its cue from Charles Burney’s reading of Bach in 1789, entails a reading of Susan McClary, Lydia Goehr, Richard Taruskin, and John Butt, in which Bach is (respectively) deconstructed in terms of contemporary political discourse, denied the autonomy of a work-based practice, construed as a dogmatic agent of anti-Enlightenment beliefs and identified as the fountainhead of an ultimately inhumane musical and cultural absolutism, and reconstructed as a composer of works that passionately mediate between his world and ours. This reading establishes a context for the second theme, in which Bach’s emancipation of the musical subject from “the very church composer against whose office his music rebelled” (Adorno) is identified by means of his late instrumental collections.
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Emberly, Andrea, and Mudzunga Junniah Davhula. "Dancing Domba." In Transforming Ethnomusicology Volume II. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517550.003.0010.

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The domba school of girls’ initiation is recognizable to many ethnomusicologists from John Blacking’s historic work in Venda communities in South Africa in the 1950s. Blacking’s study illuminated the central role of music in children’s lives in Venda communities. However, at present, domba and the unique songs and stories of Venda childhood are highly endangered, with significant ramifications for contemporary children’s education, cultural practices, and well-being in Venda communities. This chapter explores collaborative research that aims to draw together ethnomusicological methodologies such as audio and video documentation with community-driven efforts to embed the teaching and learning from domba into the school curriculum. Because children have historically been viewed as research objects, rather than participants, this collaborative effort highlights the significance of including children and young people in the research process. By connecting music to a broader cultural context, our research explores the emotional, physical, and socio-cultural transition from childhood to adulthood that is embodied musically in initiation schools and through the transmission of traditional Venda children’s musical arts practices (song, dance, instrumental performance). Our research aims to contribute to knowledge about critical issues, including the connection of well-being to arts education and the sustainability of intangible cultural heritage through unique and collaborative methodologies that prioritize the engagement of children and young people.
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Conference papers on the topic "Contemporary instrumental music"

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Grushina, Ye Ye. "CULTURAL TRENDS THE CONTEMPORARY GENRE COMMUNITY IN THE FIELD OF CHAMBER AND INSTRUMENTAL MUSIC." In XIV International Social Congress. Russian State Social University, 2015. http://dx.doi.org/10.15216/rgsu-xiv-132.

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Zhou, Ningbo. "Analysis on the Feasibility of Introducing the National Instrument Bamboo Flute into the Music Class of Primary and Secondary Schools." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.116.

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