Relevant bibliographies by topics / Contemporary music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Contemporary music'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 June 2024

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Journal articles on the topic "Contemporary music"

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Sukmayadi, Yudi. "Musik Kontemporer dalam Kurikulum dan Buku Sekolah di Jerman." Resital: Jurnal Seni Pertunjukan 15, no. 2 (December 1, 2014): 169–78. http://dx.doi.org/10.24821/resital.v15i2.851.

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Tulisan ini menyajikan tentang posisi musik kontemporer dalam kurikulum dan buku sekolah di Jerman. Hal yang dibahas adalah pemilihan materi musik kontemporer untuk setiap kelas, jenis musik kontemporer yang dibahas, serta metode didaktis yang diterapkan. Berdasarkan analisis dapat disimpulkan bahwa melalui pelajaran musik kontemporer, siswa tidak hanya mempelajari hal musikal, namun juga mempelajari masalah kontekstualnya di masyarakat, termasuk di dalamnya masalah musik kontemporer dan perkembangan teknologi. Contemporary Music in German Curriculum and Schoolbooks. This study presents the position of contemporary music in German curriculum and schoolbooks in Germany. This study discusses how to select contemporary music materials for every class, kinds of contemporary music, and how the didactic concepts are applied. This study also discusses how, through contemporary music, the students are introduced to contextual problems in society, including the issue of contemporary music and technology development.
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Marchenko, Valerii. "Theatricality in Contemporary Symphonic Music." Revista Gestão Inovação e Tecnologias 11, no. 3 (June 30, 2021): 861–69. http://dx.doi.org/10.47059/revistageintec.v11i3.1981.

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Homan, Shane. "A contemporary cultural policy for contemporary music?" Media International Australia 158, no. 1 (February 2016): 37–47. http://dx.doi.org/10.1177/1329878x15622077.

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Creative Nation confirmed the shift by federal governments to viewing popular music as part of the Australian cultural economy, where the ‘contemporary music’ industries were expected to contribute to economic growth as much as providing a set of creative practices for musicians and audiences. In the 19 years between Creative Nation and Creative Australia, much has changed. This article examines relationships between the music industries, governments and audiences in three areas. First, it charts the funding of popular music within the broader cultural sector to illuminate the competing discourses and demands of the popular and classical music sectors in federal budgets. Second, it traces configurations of popular music and national identity as part of national policy. Third, the article explores how both national policy documents position Australian popular music amid global technological and regulatory shifts. As instruments of cultural nationalism, Creative Nation and Creative Australia are useful texts in assessing the opportunities and limits of nations in asserting coherent national strategies.
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Bagaskara, Akbar, Maria Adinda, and Veronica Yoni Kaestri. "Musik Klasik dalam Paradigma Kontemporer: Penyelidikan tentang Apresiasi dan Pendengar." PROMUSIKA 11, no. 2 (October 29, 2023): 65–74. http://dx.doi.org/10.24821/promusika.v11i2.11076.

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Penelitian ini bertujuan untuk melacak pergeseran apresiasi musik klasik pada konteks era kontemporer, selain itu juga menganalisis persentase pendengar musik klasik dalam menghadapi tren musik di era kontemporer, dan menakar tantangan serta strategi yang muncul dalam upaya mempertahankan genre musik klasik dalam pergereseran atmosfer era kontemporer. Metode yang digunakan dalam penelitian kali adalah mix method (gabungan antara kuantitatif dan kualitatif) yang mana data bersumber dari bentuk numerik (kuantitatif) dan narasi (kualitatif). Namun, penggunaan kualitatif cenderung lebih dominan dalam menarasikan banyak hal dalam penelitian ini. Hasil dari penelitian ini meliputi berapa hal berikut; (1) apresiasi musik klasik di era kontemporer jauh berbeda dengan era lampau, yang mana kini apresiasi musik klasik dapat diakses dengan mudah dengan platform-platform digital yang telah tersedia dan berbagai macam kemudahan lainnya. (2) persentase pendengar musik klasik jauh tertinggal dari genre lain, dalam data pendengar musik di Amerika Serikat pada tahun 2018, genre musik klasik hanya menempati posisi ke tiga belas dari lima belas genre yang diteliti, dengan persentase hanya 0,7%. (3) adapun respon terhadap tantangan dan upaya pembentukan strategi yang bisa dilakukan dalam pelestarian musik klasik di era kontemporer dapat berupa; memaksimalkan penggunaan platform digital, perbanyak tour konser lintas wilayah, manfaatkan penggunaan live streaming untuk konser daring, kolaborasi lintas genre musik, ciptakan konten-konten edukatif, dan banyak libatkan musik klasik pada budaya popularAbstractClassical Music in the Contemporary Paradigm: An Enquiry into Appreciation and Listening. This article aims to trace the shifting appreciation of classical music in the context of the contemporary era while also analyzing the percentage of classical music listeners in the face of music trends in the contemporary era and assessing the challenges and strategies that arise to maintain the classical music genre in the shifting contemporary atmosphere. The method used in this article is a mixed method (a combination of quantitative and qualitative) where data comes from numerical (quantitative) and narrative (qualitative) forms. However, the use of qualitative tends to be more dominant in narrating many things in the research. The results of this research include the following: (1) The appreciation of classical music in the contemporary era is much different from the past era, where classical music appreciation can be accessed easily with available digital platforms and various other conveniences. (2) The percentage of classical music listeners is far behind that of other genres. In the data on music listeners in the United States in 2018, the classical music genre only occupies the thirteenth position out of the fifteen genres studied, with a percentage of only 0.7%. (3) the response to challenges and efforts to form strategies that can be done in the preservation of classical music in the contemporary era can be to maximize the use of digital platforms, increase cross-regional concert tours, take advantage of the use of live streaming for online concerts, collaborate across musical genres, create educational content, and involve classical music in popular culture.Keywords: Classical Music; Contemporary Era; Appreciation; Listeners
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LoVetri, Jeannette. "Contemporary Commercial Music." Journal of Voice 22, no. 3 (May 2008): 260–62. http://dx.doi.org/10.1016/j.jvoice.2006.11.002.

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Budi Pramana, I. Putu Riangga, and I. Wayan Suharta. "Contemporary Music Composition “Konfrontasi” | Komposisi Musik Kontemporer “Konfrontasi”." GHURNITA: Jurnal Seni Karawitan 1, no. 4 (July 3, 2023): 290–98. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i4.371.

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Komposisi Konfrontasi adalah komposisi musik yang mengacu pada representasi dari salah satu bentuk konflik, yang mendeskripsikan sebuah peristiwa dimana seseorang memancing tindakan atau argumen yang berlawanan dari orang lain yang dianggap lawan secara terang-terangan. Dalam musik, konfrontasi diibaratkan sebagai sebuah kata yang mendeskripsikan pergerakan kalimat-kalimat musik yang dinamis dan cenderung disharmonis. Konfrontasi diwujudkan berdasarkan kesinambungan karakter gamelan Gong Kebyar sebagai media ungkap, yakni karakter dinamis. Konfrontasi diwujudkan dengan tujuan untuk meningkatkan pengetahuan dan keahlian penata untuk membangun kemampuan menciptakan komposisi kontemporer berdasarkan pemikiran sederhana pada relevansi karakteristik gagasan dengan karakteristik Gong Kebyar. Dalam mewujudkan komposisi Konfrontasi, penata menggunakan metode penciptaan Panca Sthiti Ngawi Sani yang terdiri atas: Ngawirasa (Inspirasi), Ngawacak (Eksplorasi), Ngarancana (Konsepsi), Ngawangun (Eksekusi), dan Ngebah (Penyajian). Komposisi Konfrontasi disajikan sebagai sebuah komposisi kontemporer dengan struktural bagian yang terdiri atas tiga bagian dengan menitikberatkan pada konsep kontras dan selaras. Komposisi kontemporer merupakan sebuah komposisi musik yang tidak hanya sekedar menganggap bebas tanpa mempertimbangkan ketentuan bersifat konvensional atau melupakan tradisi.
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Haryanto, Tri, and I. Gede Yudana. "Contemporary Music Composition “Embryo”| Komposisi Musik Kontemporer “Embrio”." GHURNITA: Jurnal Seni Karawitan 1, no. 1 (June 23, 2023): 1–10. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i1.147.

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Kehidupan makhluk hidup (manusia) merupakan sesuatu yang diawali dengan berbagai proses dan tahap-tahap pertumbuhan dan perkembangan. Seperti tahapan embrio sebagai jasad hidup yang masih dalam tingkat perkembangan (pertumbuhan) awal, belum mempunyai bentuk yang jelas, akan menjadi sesuatu. Dari proses ini, penata angkat menjadi garapan yang berjudul embrio, dengan medium gamelan Semar Pagulingan Saih Pitu dan Selonding style Tenganan, dengan durasi 10-15 menit. Garapan karya embrio dibagi dalam 4 (empat) bagian, tiap bagian mewakili fase embrionik yang masing-masing fase memiliki ciri tersendiri. Proses pertumbuhan dan perkembangan tersebut terbagi menjadi beberapa tahapan yakni mulai dari fertilisasi yaitu pertemuan gamet jantan dan betina, pembelahan sel pada tahapan morula dan blastula, kemudian gastrula membentuk 3 (tiga) lapisan, serta yang terakhir organogenesis yang membentuk organ makhluk hidup (manusia) baru.
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Dunn, Lawrence. "London Contemporary Music Festival." Tempo 72, no. 285 (June 19, 2018): 86–91. http://dx.doi.org/10.1017/s0040298218000177.

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Does intimacy have anything to do with music? Music – especially acoustic chamber music – is regularly, even unthinkingly, labelled intimate. The implications of this common-enough usage were the major preoccupation of the most recent London Contemporary Music Festival. With multiple images and varieties of intimacy foregrounded – bodily, sexual, aural, psychological, somnolent – Igor Toronyi Lalic's curation was masterful. By turns provocative, baffling, emotional and ear-averting, not without some irony, the concerts were held in a vast underground concrete room.
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Lumbantobing, Tomson Saut Parulian, and Aji Suseno. "Studi Trend Ibadah Dalam Nyanyian dan Musik Kontemporer di Gereja-gereja Baptis Masa Kini." Veritas Lux Mea (Jurnal Teologi dan Pendidikan Kristen) 4, no. 1 (February 22, 2022): 21–31. http://dx.doi.org/10.59177/veritas.v4i1.139.

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The decision of several Baptist churches to start using contemporary singing and music in the early 2000s has caused controversy and has become a polemic in the Association of Indonesian Baptist Churches (GGBI). However, the trend of worship using contemporary songs and music is getting more widespread in Indonesian Baptist churches. This is the background of this research, which is to comprehensively investigate the factors behind the widespread trend of worship using contemporary songs and music in Indonesian Baptist churches. Thus, the formulation of the research problem is a study of the factors behind the widespread trend of worship using contemporary songs and music in Indonesian Baptist churches. This type of research is classified as a descriptive qualitative variety with a literature study. Data were obtained from various document sources such as books, magazines, articles, and scientific journals about worship, spiritual songs, and music. The results of the research found that the congregational government system, church planting, seminars and writings on worship and music, Baptist youth worship, and technological developments are factors behind the increasingly widespread trend of worship with contemporary singing and music in Indonesian Baptist churches.AbstrakKeputusan beberapa gereja Baptis yang mulai menggunakan nyanyian dan musik kontemporer di awal tahun 2000an telah menimbulkan kontroversi dan menjadi polemik di Gabungan Gereja-Gereja Baptis Indonesia (GGBI). Meskipun demikian, trend ibadah menggunakan nyanyian dan musik kontemporer justru semakin meluas di gereja-gereja Baptis Indonesia. Hal inlah yang melatarbelakangi dilakukannya riset ini, yaitu hendak menyelidiki secara komprehensif faktor-faktor yang melatarbelakangi semakin meluasnya trend ibadah menggunakan nyanyian dan musik kontemporer di gereja-gereja Baptis Indonesia. Dengan demikian, rumusan masalah riset ini adalah kajian tentang faktor-faktor yang melatarbelakangi semakin meluasnya trend ibadah menggunakan nyanyian dan musik kontemporer di gereja-gereja Baptis Indonesia. Jenis riset tergolong dalam ragam kualitatif deskriptif dengan studi literatur. Data diperoleh dari berbagai sumber dokumen seperti seperti buku, majalah, artikel dan jurnal-jurnal ilmiah tentang ibadah, nyanyian dan musik rohani. Hasil riset menemukan bahwa sistem pemerintahan kongregasional, perintisan jemaat, seminar dan karya tulisan tentang ibadah dan musik, ibadah kaum muda Baptis, serta perkembangan teknologi merupakan faktor-faktor yang melatarbelakangi semakin meluasnya trend ibadah dengan nyanyian dan musik kontemporer di gereja-gereja Baptis Indonesia.
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Etzkorn, K. Peter. "Contemporary Mediated Music: Challenge to Music Education." International Journal of Music Education os-16, no. 1 (November 1990): 3–12. http://dx.doi.org/10.1177/025576149001600101.

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Dissertations / Theses on the topic "Contemporary music"

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Kay, Marja Liisa. "Contemporary vocal music : language, technology and contemporary vocal music of Finland." Thesis, University of York, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583263.

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This thesis is centred on a number of contemporary vocal performances and projects I encountered, and often single-handedly organised, during years of study and exploration. An introduction provides insights as to how I came to connect my original performance research goals with additional subject matters in an effort to provide a more complete illustration of the broad span of the music at hand. The bulk of this submission lies within the recordings of performances, which are supported by three exploratory chapters that discuss the relationships of the works to one another. The first chapter examines Finnish contemporary vocal music from a performer's point of view. Following this are two chapters that look at selected vocal works of two of the most internationally famous composers today, Esa-Pekka Salonen and Kaija Saariaho, in juxtaposition with an array of non-Finnish composition that share common themes. These chapters are accompanied by five audio CDs and one DVD, an extensive listing of recording tracks and performances, programmes and notes from all relevant concerts, press releases and reviews where applicable. An afterword sums up conclusions I arrived at regarding the role ofthe contemporary vocal artist and our responsibilities to the future of musical art.
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Mynett, Mark. "Contemporary metal music production." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/19314/.

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Distinct challenges are posed when conveying Contemporary Metal Music’s(CMM) sounds and performance perspectives within a recorded and mixed form. CMM often features down tuned, heavily distorted timbres, alongside high tempi, fast and frequently complex subdivisions, and highly synchronised instrumentation. The combination of these elements results in a significant concentration of dense musical sound usually referred to as ‘heaviness’. The publications for this thesis present approaches, processes and techniques for capturing, presenting and accentuating heaviness, as well as intelligibility and performance precision which facilitate the listener’s clear comprehension of the frequent overarching complexity in the music’s construction. Intelligibility and performance precision are the principal requirements for a high commercial standard of CMM, and additionally can enhance a production’s sense of heaviness. This synoptic commentary defines heaviness from an ecological perspective, by highlighting invariant properties that shape the embodied experience of being human. Heaviness is primarily substantiated through displays of distortion and, regardless of the listening levels involved, the fundamentals of this identity are ecologically linked to volume, power, energy, intensity, emotionality and aggression. In addition to distortion, a vital component of heaviness is sonic weight, which refers to CMM’s low frequencies being associated with large, intense and powerful entities. CMM’s heaviness is also considered in terms of the perceived proximity of activity, apparent size of performance environment, and level and type of energy being expended. In particular, CMM provides the listener with the sense of utmost proximity to the band, usually without any significant perspective of depth. Production strategies for achieving a high commercial standard in CMM are then presented. This is followed by a reflective commentary on the portfolio of productions, which includes discussion of the author’s transition from emulative to professional level of production and considers originality within this body of work. By presenting the subject as an important, valid and authentic scholarly discipline, this work bridges the gap between the worlds of academia and music production practice for this style.
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Mokhtabad-Amrei, Seyed Abdolhossein. "Iranian contemporary art music." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.

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Hansen, Chris Robert. "Contemporary choral arrangements product /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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Thesis (M.C.M.)--Western Conservative Baptist Seminary, 1987.
Bound with accompanying tape of the arrangements recorded, by the mixed choral ensemble from Milwaukie First Baptist Church, Milwaukie, Oregon and the men's chorus from Western Seminary in Portland.
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Moretti, Francesco. "Musicians Can Fly : Heterogeneous material, Renaissance sources and contemporary group improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2557.

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Begay, Diane. "Contemporary music in Canada: Alexina Louie." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/6901.

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Alexina Louie (1949-) is one of Canada's foremost composers of contemporary classical music. She was named "Composer of the Year 1986" by the Canada Music Council in the International Year of Canadian music. Her compositions have been commissioned and performed by Canada's major orchestras, ensembles, and soloists and have been played extensively throughout Canada and abroad. Due to the incessant demand for her music, Louie is among the numbered few in Canada who are able to make a living solely by composing. The first chapter of this study outlines Louie's life from childhood until 1993. The second looks at the media's portrayal of Louie, from 1980 until 1992. The ways in which Louie composes are discussed in the third chapter, and the fourth analyses three contrasting pieces: (1) Music for a Thousand Autumns (1983), (2) The Eternal Earth (1986), and (3) The Ringing Earth (1985). A list of works, recordings, and published compositions follow an extensive bibliography. A cassette containing excerpts of Louie's work accompanies the thesis. This study reveals Louie to be an outstanding Canadian musician. She is greatly respected and admired for her compositions as well as for her promotion of contemporary music. Through her expertise, her art, her culture, and her philosophy, Louie has helped put a new face on Canadian contemporary music.
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Ranyard, Marie Phyllis. "Transcontextual mechanisms in contemporary art music." Thesis, City University London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264241.

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Ferlaino, Christian. "Confluences : folk wisdom in contemporary music." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33213.

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This thesis explores ways of adopting elements of Calabrian folk music in compositions of contemporary music beyond the mere adoption of melodies and instruments. Through this work, I aim to create a practice for contemporary improvisation and composition that is deeply imbued with elements derived from the music theory, the sonic environment and the performance practices of Calabria. The work described in this dissertation consists of two components: ethnomusicological research and a practice-based enquiry. This research focuses mainly on three aspects of Calabrian folk music: generative principles, the tuning system and processes of bagpipes, and soundscapes created by animal bells. These aspects guided both the ethnomusicological enquiry and the creative exploration. They are first described and analysed in their original context: folk music was studied in the field, amid and within the tradition bearers; research was conducted from a cultural and musicological perspective within the methodological and ethical framework of ethnomusicology. The data emerging from the ethnomusicological investigations informed the creative enquiry carried out through practice-led research. The outcomes of my investigation into Calabrian music became the core principles of my compositions of contemporary music. Generative principles were explored from the perspectives of both composition and improvisation They informed primarily a series of pieces for saxophone solo and a composition for chamber ensemble. The tuning system and processes of Calabrian bagpipes were investigated in compositions centred on pitch and extended harmonic spaces. They informed two compositions for string quartet and a piece for saxophone quartet. Soundscapes informed the composition of a piece of spatial music for goat bells that adopts indeterminacy methods for structuring the performance. The creative work, attached to this thesis as a portfolio of compositions, is analysed through self-reflective methods and in relation to the work of other contemporary music practitioners. My enquiry of the folk sources contributes to the field of ethnomusicology with new insight into Calabrian music. The creative processes and the techniques developed throughout this research also have implications for the broader field of contemporary music, as they offer a perspective on new ways of engaging creatively with folk materials.
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Nederberg, Annelie. "Corporeality in music for contemporary dance." Thesis, De Montfort University, 2012. http://hdl.handle.net/2086/9879.

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The focus of this thesis is how the body and its corporeal articulations can be used as a tool for composing for contemporary dance, with the aim of creating music with corporeal qualities that communicates on a physical level. For this purpose the author has collaborated with choreographers in a practice-based approach to examine how the body of the composer can be exploited in composition and performance, and how the voice can be exploited as a mediator between body movement and music. The body and its sensorimotor system is the foundation for our understanding of abstract concepts in music; the immaterial movement of music can serve as a foundation for a deep bodily-sensed understanding of complex concepts. By reversing this process of understanding, or rather by engaging in the action-perception loop of conceptual understanding, this understanding can help encapsulating abstract and complex concepts artistically in music. For this purpose the Feedback Instrument has been created, representing a direct way of engaging the sensorimotor system of the composer, where the intuitive body resonances are engaged in close connection with the sounding music.
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DeBoer, Amanda R. "Ingressive Phonation in Contemporary Vocal Music." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1353356284.

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Books on the topic "Contemporary music"

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1936-, Schwartz Elliott, Childs Barney, and Fox James 1953-, eds. Contemporary composers on contemporary music. New York: Da Capo Press, 1998.

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Barrett, Bob. Contemporary music styles. Mission Viejo, Calif: Taylor Made Music, 1996.

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Coleman, Lindsay, and Joakim Tillman, eds. Contemporary Film Music. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57375-9.

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Council, Scottish Arts. Contemporary popular music. Edinburgh: Scottish Arts Council, 2001.

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Contemporary music education. 3rd ed. New York: Schirmer Books, 1996.

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Harrison, Mark. Contemporary music theory. Milwaukee: Hal Leonard, 1996.

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Matthews, Stephen Ralph. Contemporary opera & music. [Wellington, N.Z: The Winston Churchill Memorial Trust, 1998.

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Rudolph, Covach John, Everett Walter 1954-, Fineberg Joshua, and Chapman Jane ed, eds. Contemporary music review. Germantown, NY: Periodicals Service Company, reprinted with the permission of the original publisher, Taylor & Francis, 2003.

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Contemporary Chinese music. Beijing: New Star Press, 2013.

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Mark, Harrison. Contemporary music theory. Milwaukee: Hal Leonard, 2001.

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Book chapters on the topic "Contemporary music"

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Abraham, Ibrahim. "Contemporary Christian Music and Contemporary Worship Music." In The Routledge International Handbook of Sociology and Christianity, 242–53. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003277743-26.

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Hepworth-Sawyer, Russ. "Contemporary Production Success." In Producing Music, 293–310. New York, NY : Routledge, 2019. | Series: Perspectives on music production series: Routledge, 2019. http://dx.doi.org/10.4324/9781315212241-18.

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Eling, Kim. "Contemporary Music Policy." In The Politics of Cultural Policy in France, 62–82. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1057/9780333982365_4.

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Mynett, Mark. "Contemporary Metal Music." In Metal Music Manual, 7–8. New York ; London : Routledge, 2016.: Routledge, 2017. http://dx.doi.org/10.4324/9781315750071-2.

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Dirk, von der Horst. "Music." In Contemporary Theological Approaches to Sexuality, 113–23. 1 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315694238-10.

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Franco, Susanne. "Remembering folklore, staging contemporary dance." In Music-Dance, 175–88. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-11.

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Collins, Sarah. "What was contemporary music?" In The Routledge Research Companion to Modernism in Music, 56–85. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315613291-3.

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Feisthauer, Leo. "Reconsidering Contemporary Music Videos." In Theorizing Music Videos of the Late 2010s, 29–78. Berlin, Heidelberg: Springer Berlin Heidelberg, 2022. http://dx.doi.org/10.1007/978-3-662-65049-3_3.

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Rebstock, Matthias. "Contemporary music theatre practices." In The Routledge Companion to Contemporary European Theatre and Performance, 387–93. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003082538-62.

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Bolderman, Leonieke. "Music, place, and tourism." In Contemporary Music Tourism, 1–17. Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429318863-1.

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Conference papers on the topic "Contemporary music"

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Orange, Chris. "Reconceptualising Tertiary Contemporary Music Performance Assessment." In Rangahau Horonuku Hou – New Research Landscapes, Unitec/MIT Research Symposium 2021. Unitec ePress, 2022. http://dx.doi.org/10.34074/proc.2206006.

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Contemporary music performances are typically assessed by criteria such as Musicianship, Accuracy, Technique, Professionalism and Contribution. These measures continue to be used despite low discrimination between them and specific items on the assessment schedules (Thompson & Williamon, 2003). In addition, there is a lack of objective evidence that assessment is truly comprehensive. Greater transparency in domain definition and comprehensiveness may aid understanding of the rubric, and lead to better assessment. This study investigated whether popular-music performance assessment criteria are supported by a multidimensional scaling analysis (MDS). What might an MDS analysis contribute to confidence in the validity of these common measures of music performance? Performance students and tutors at an Aotearoa New Zealand tertiary music institute participated in focus-group sessions where they answered structured questionnaires. These provided descriptors of musical efforts that contribute to successful music shows. These descriptors of performance were then mapped using a mixed-method process with concept mapping (Coxon, 1999; Trochim & Kane, 2005), and card sorting via novel use of web-based user experience (UX) platform OptimalSort (Paea & Baird, 2018). The MDS analysis of the descriptor item set, and comparison of emergent clusters with typical rubric, revealed alternative constructs underlying the language of music performance assessment. Results suggest that the incumbent measures confound important dimensions. The importance of collaborative interaction in the development of musical skill is suggested by our analysis, and this is supported by findings in the literature (Green, 2008; Schiavio et al., 2020). The more comprehensive and detailed description of music performance constructs provided by this MDS approach may illuminate music performance studies and lead to greater understanding of how assessment may best benefit learning.
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2

Graber, Emily, Charles Picasso, and Elaine Chew. "Viva Contemporary! Mobile Music Laboratory." In MM '22: The 30th ACM International Conference on Multimedia. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3503161.3549980.

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3

Li, Xuan. "The Significance of Computer Music Teaching to Contemporary College Music Students." In 2021 International Conference on Internet, Education and Information Technology (IEIT). IEEE, 2021. http://dx.doi.org/10.1109/ieit53597.2021.00088.

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4

Wang, Min, and Xiaofeng Wang. "Contemporary Cultural Construction of Neoromanticism Music Products." In Proceedings of the International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/cesses-18.2018.102.

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5

Li, Qingxun. "Application of Regional Music Culture in College Music Teaching." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.401.

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6

Guo, Chao. "Analysis on Contemporary Chinese Animated Music Development from Jou Hisaishi Animated Music." In 2015 International Conference on Education Technology, Management and Humanities Science (ETMHS 2015). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/etmhs-15.2015.163.

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7

Sychova, A. I. "CLASSICAL MUSIC AS A TREND OF CONTEMPORARY ART." In XIV International Social Congress. Russian State Social University, 2015. http://dx.doi.org/10.15216/rgsu-xiv-412.

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8

Gintere, Ieva. "CODES OF MUSICAL MODERNISM AND LATVIAN CONTEMPORARY MUSIC." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s16.55.

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Ji, Yi. "How to Inherit the National Culture of Music in Music Courses." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.316.

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10

Ji, Yi. "Application of Multicultural Music in Music Education in Colleges and Universities." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.16.

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