Log in

Relevant bibliographies by topics / Electronic and guitar music

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers
Reports

Academic literature on the topic 'Electronic and guitar music'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Electronic and guitar music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Electronic and guitar music"

1

Schwartz, Jeff. "Writing Jimi: rock guitar pedagogy as postmodern folkloric practice." Popular Music 12, no. 3 (1993): 281–88. http://dx.doi.org/10.1017/s0261143000005729.

Full text

Abstract:

Most instruction in electric guitar, bass guitar, drums and electronic keyboards is conducted on a one-to-one basis by uncertified, independent teachers. The lessons are face-to-face, and based on the student's imitation of the teacher's example. Popular music education is a ‘little tradition’ (in comparison to school music departments) and largely an oral one, thus meeting the usual criteria of folk cultures.

APA, Harvard, Vancouver, ISO, and other styles

2

Djatmiko, Sigit. "FENOMENOLOGI MUSIK." Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan 15, no. 28 (2016): 108–13. http://dx.doi.org/10.32795/ds.v15i28.63.

Full text

Abstract:

The Kraftwerk music group from Dusseldorf, Germany, began to be famous since 1974. The prominent feature of the Kraftwerk is that they were trying to be the pioneer of the alteration from the acoustic and electric music into the electronic music. Their mission was dehumanizing the music to produce impersonal sounds and with the “musicians” which would rather be considered as machine tools than as human. The works of the Kraftwerk arguably became the blueprint for the sort of avantgarde music, the prototype for kinds of music that celebrated the shift from the sounds of the guitar strings and the human vocal into the sounds of strum combination. In sum, the main aim of the Kraftwerk was to fully merge with the technology, to stop playing the instruments, and let the instruments play themselves.

APA, Harvard, Vancouver, ISO, and other styles

3

Kovalenko, Anatoliі. "DEVELOPMENT OF UKRAINIAN GUITAR EDUCATION IN THE CONDITIONS OF DISTANCE LEARNING." Academic Notes Series Pedagogical Science 1, no. 190 (2020): 100–104. http://dx.doi.org/10.36550/2415-7988-2020-1-190-100-104.

Full text

Abstract:

The article reveals the positive and negative aspects of the development of domestic guitar education in terms of distance learning. Applying the methods of historical and pedagogical analysis and a systematic approach, the recommendations of the Ministry of Education and Science of Ukraine were analyzed, which considered this area of development of the educational process and scientific works of guitar researchers. It is determined that the standards of higher education in the specialty 025 «Musical Arts» do not specify the quality of computer and software. It has been found that students, teachers, and heads of educational institutions from time to time face the issue of updating computer equipment to implement a quality educational process. It is proved that when using the software «Zoom» or «Skype» for group practical classes, a small error in the work of the Internet can lead to desynchronization in the work of the music group. It is highlighted that professions related to training, individual services, and creativity will remain relevant, as they cannot be replaced by automated systems even with the use of artificial intelligence; «the introduction of distance learning tools in schools is positive, in particular the use of the Microsoft Teams for Education Center, which includes the following options: downloading materials, storing and sharing them; possibility to add electronic textbooks / educational games; placement of announcements, digests for all participants of the educational process», etc.; negative aspects of the development of domestic guitar education in terms of distance learning are the lack of live contact between teacher and student, the inability to visually adjust the performance movements (left and right hand, artistic gestures, etc.); the ability of the mentor to remove the mental and physiological clamp from the performer is lost; slow internet connection speed and low quality of computer components can hinder a quality educational process and others. In terms of distance learning, domestic guitar education has changed the vector of its development. Users of Internet resources became the target audience of performing guitar art, and music education of guitarists received new opportunities for improvement. However, there are still factors that hinder the full implementation of positive changes. We consider the following to be the main ones: the lack of live communication between the teacher and the student, the unstable speed of the Internet connection in some regions of Ukraine and the low quality of computer components among some participants in the educational process.

APA, Harvard, Vancouver, ISO, and other styles

4

Afdhal, Muhammad. "“REPUBLIKEN” MENYATU DALAM PERBEDAAN." Imaji 17, no. 1 (2019): 66–73. http://dx.doi.org/10.21831/imaji.v17i1.25736.

Full text

Abstract:

Republiken adalah penganut ketatanegaraan yang berbentuk republik. Istilah Republiken menunjukkan suatu kesatuan masyarakat yang berbangsa dan berdaulat. Republiken dalam kaitannya dengan karya seni ini adalah suatu bentuk semangat berbangsa melalui seni, dalam hal ini musik, menunjukkan bahwa perbedaan ras atau suku bukanlah masalah untuk bangsa Indonesia menjadi semangat yang satu. Karya komposisi musik yang berjudul “Republiken”, diharapkan dapat menunjukkan semangat berbangsa melalui beberapa karakteristik musik-musik nusantara yang diekspresikan melalui EDM atau Elektronik Dance Music yang merupakan sebuah rumah besar untuk genre-genre musik, seperti disco, dupstep dan sebagainya, karena sebagian alat musiknya menggunakan alat-alat elektronik seperti gitar elektrik, keyboard, synthesiezer dan lauchpad yang dewasa ini menjadi alat musik yang banyak digunakan dalam penciptaan musik EDM “REPUBLIKEN” UNITES IN DIFFERENCESAbstractRepubliken are followers of republic constitutions. The term Republiken shows a united nation and sovereign community. In relation to this work of art, Republiken is a form of nationalism spirit through art—in this case music—showing that racial or ethnic differences are not a problem for Indonesian people to be one spirit. The music composition works entitled "Republiken", are expected to show the spirit of nationalism through several characteristics of archipelago music expressed through EDM or Electronic Dance Music which is a big house for music genres, such as disco, dupstep and so on, because some of the music tools uses electronic devices like electric guitars, keyboards, synthesizers and lauchpads which today are a musical instrument that is widely used in EDM music creation

APA, Harvard, Vancouver, ISO, and other styles

5

Byambatsogt, Gerelmaa, Lodoiravsal Choimaa, and Gou Koutaki. "Guitar Chord Sensing and Recognition Using Multi-Task Learning and Physical Data Augmentation with Robotics." Sensors 20, no. 21 (2020): 6077. http://dx.doi.org/10.3390/s20216077.

Full text

Abstract:

In recent years, many researchers have shown increasing interest in music information retrieval (MIR) applications, with automatic chord recognition being one of the popular tasks. Many studies have achieved/demonstrated considerable improvement using deep learning based models in automatic chord recognition problems. However, most of the existing models have focused on simple chord recognition, which classifies the root note with the major, minor, and seventh chords. Furthermore, in learning-based recognition, it is critical to collect high-quality and large amounts of training data to achieve the desired performance. In this paper, we present a multi-task learning (MTL) model for a guitar chord recognition task, where the model is trained using a relatively large-vocabulary guitar chord dataset. To solve data scarcity issues, a physical data augmentation method that directly records the chord dataset from a robotic performer is employed. Deep learning based MTL is proposed to improve the performance of automatic chord recognition with the proposed physical data augmentation dataset. The proposed MTL model is compared with four baseline models and its corresponding single-task learning model using two types of datasets, including a human dataset and a human combined with the augmented dataset. The proposed methods outperform the baseline models, and the results show that most scores of the proposed multi-task learning model are better than those of the corresponding single-task learning model. The experimental results demonstrate that physical data augmentation is an effective method for increasing the dataset size for guitar chord recognition tasks.

APA, Harvard, Vancouver, ISO, and other styles

6

Freire, Sérgio, Geise Santos, Augusto Armondes, Eduardo A. L. Meneses, and Marcelo M. Wanderley. "Evaluation of Inertial Sensor Data by a Comparison with Optical Motion Capture Data of Guitar Strumming Gestures." Sensors 20, no. 19 (2020): 5722. http://dx.doi.org/10.3390/s20195722.

Full text

Abstract:

Computing technologies have opened up a myriad of possibilities for expanding the sonic capabilities of acoustic musical instruments. Musicians nowadays employ a variety of rather inexpensive, wireless sensor-based systems to obtain refined control of interactive musical performances in actual musical situations like live music concerts. It is essential though to clearly understand the capabilities and limitations of such acquisition systems and their potential influence on high-level control of musical processes. In this study, we evaluate one such system composed of an inertial sensor (MetaMotionR) and a hexaphonic nylon guitar for capturing strumming gestures. To characterize this system, we compared it with a high-end commercial motion capture system (Qualisys) typically used in the controlled environments of research laboratories, in two complementary tasks: comparisons of rotational and translational data. For the rotations, we were able to compare our results with those that are found in the literature, obtaining RMSE below 10° for 88% of the curves. The translations were compared in two ways: by double derivation of positional data from the mocap and by double integration of IMU acceleration data. For the task of estimating displacements from acceleration data, we developed a compensative-integration method to deal with the oscillatory character of the strumming, whose approximative results are very dependent on the type of gestures and segmentation; a value of 0.77 was obtained for the average of the normalized covariance coefficients of the displacement magnitudes. Although not in the ideal range, these results point to a clearly acceptable trade-off between the flexibility, portability and low cost of the proposed system when compared to the limited use and cost of the high-end motion capture standard in interactive music setups.

APA, Harvard, Vancouver, ISO, and other styles

7

Criswick, Mary, and Wolf Moser. "Guitar Music." Musical Times 127, no. 1720 (1986): 443. http://dx.doi.org/10.2307/965165.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Stimpson, Michael. "Guitar Music Surveyed." British Journal of Music Education 6, no. 3 (1989): 328–29. http://dx.doi.org/10.1017/s0265051700007373.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Criswick, Mary. "Guitar." Musical Times 128, no. 1733 (1987): 392. http://dx.doi.org/10.2307/964544.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Wade, Graham. "Guitar." Musical Times 129, no. 1744 (1988): 306. http://dx.doi.org/10.2307/964893.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Electronic and guitar music"

1

Welch, Chapman. "Tele using vernacular performance practices in an eight channel environment /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/welch%5Fchapman/index.htm.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Serce, Andrew J. "A POST-TONAL ANALYTICAL APPROACH TO SYNCHRONISMS NO. 10 FOR GUITAR AND TAPE BY MARIO DAVIDOVSKY." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/97.

Full text

Abstract:

Mario Davidovsky is an American composer who was born in Buenos Aires, Argentina on March 4, 1934. Beginning in 1958, he was a student of Aaron Copland at the Berkshire Music Center (currently the Tanglewood Music Center) in Lenox, Massachusetts. At Berkshire, he also met American composer, Milton Babbitt, who persuaded him to work at the Columbia-Princeton Electronic Music Center (currently the Computer Music Center at Columbia University) in New York City. Davidovsky was appointed Associate Director of the Columbia-Princeton Electronic Music Center in 1960 where he inevitably began experimenting with the relationships between live instruments and electronic sounds. Synchronisms No. 10 for guitar and tape (1992) is a piece for solo classical guitar and pre-recorded synthesized sounds. The piece was dedicated to David Starobin, the current Professor of Guitar at the Manhattan School of Music, who also edited the guitar part. This particular piece in the Synchronisms series shows that Davidovsky is aware of the limitations of the guitar in regard to dynamic range and decay of sound. Knowing these limitations, Davidovsky utilizes the various abilities of the instrument including its wide timbral range and use as a percussive medium. Although Davidovsky himself has been quoted as not using pitch-class sets of any kind, a post-tonal analysis can be applied to this piece in order to further understand individual sections and interaction between guitar and recording. Also, a review of the performance techniques necessary to approach this piece, and how said techniques are implemented, will help the musician perform at a higher level.

APA, Harvard, Vancouver, ISO, and other styles

3

Sosa, Ortega Jorge Raymundo Rudy Paul. "Refractions a collection of three pieces for solo instruments and fixed electronic media /." Diss., UMK access, 2008.

Find full text

Abstract:

Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.<br>First piece for amplified clarinet and fixed electronic media, the second piece for electric guitar and fixed electronic media, and the third piece for amplified high voice (soprano or tenor) and fixed electronic media. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

APA, Harvard, Vancouver, ISO, and other styles

4

Schlomowitz, Matthew. "False relation : for solo trombone, solo guitar, ensemble and CD /." May be available electronically:, 2003. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

Full text

Abstract:

D.M.A. final project--Department of Music, Stanford University, May 2003.<br>For solo trombone, solo guitar, flute, clarinet, percussion, viola, cello, double bass, and CD. Duration: 21:00. Includes performance instructions.

APA, Harvard, Vancouver, ISO, and other styles

5

Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

Full text

Abstract:

Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.<br>The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.<br>"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.<br>'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."

APA, Harvard, Vancouver, ISO, and other styles

6

Graham, Richard. "Expansion of electronic guitar performance practice through the application and development of interactive digital music systems." Thesis, Ulster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.586709.

Full text

Abstract:

Contemporary guitar design, pedagogy and performance practice methods present a series of multidisciplinary issues, which concern homogenous musical structure and performance control. A performer may extend their musical craft through the development of digital signal processing systems in order to attend to structural homogeneity. Such an approach may result in physical control and perceptual problems. Physical and figurative gestural relationships between the performer, instrument, transformative signal processes and resultant sound structure may appear contrary to more conventional instrumental performance schemata concerning performance engagement, effort and involvement. This thesis will present a technologically-driven instrumental performance methodology, underpinned by relevant multidisciplinary theoretical research concerning the role of instrumental performance gesture categories and the perceptual organisation of musical performance events. The resultant theoretical framework will inform the development of a digital music system for real-time improvisatory hyperinstrumental performance, exploiting relevant instrumental performance gestures and associated musical schemata. The resultant digital music performance system will attend to structural homogeneity whilst considering emergent research issues in relation to conventional instrumental design, pedagogy and practice. Through creative practice, the performer may develop unique musical relationships between performance gesture categories, cognitive schemas in musical memory and cognition-based formal music models. Such an approach may encourage the cultivation of a unique and coherent hyperinstrumental music performance practice, beyond the conventions and limitations of the standardised chordophone.

APA, Harvard, Vancouver, ISO, and other styles

7

Chapman, Davis Howard. "Three Ideas, a Collection of Three One-Act (Musical) Plays for Mixed Ensemble." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501209/.

Full text

Abstract:

Three Ideas is a collection of three one-act (musical) plays intended to be performed either as a series or as separate pieces. In order for them to be performable in either of those ways, they need some sort of unifying fabric running throughout the collection, yet they must remain individually strong enough to stand alone outside the context of the series and still seem complete. The concepts Tonal and Nagual, Bell's Theorem, and Breakdown of the Bicameral Mind were chosen because of their theatrical possibilities as well as their philosophical implications. All three of the concepts deal with an unknown, or at least unseen, force that has a strong influence (possibly control) over our actions and the actions of objects around us. This force could possibly radiate from within ourselves, or it could be completely outside us.

APA, Harvard, Vancouver, ISO, and other styles

8

Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. "Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Full text

Abstract:

Thesis (Ph. D.)--University of California, Los Angeles, 2008.<br>CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).

APA, Harvard, Vancouver, ISO, and other styles

9

Waschka, R. 1958. "Let Me Make it Simple for You." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331223/.

Full text

Abstract:

Discusses the creation and performance at a concert on Feb. 12, 1990, in the Merrill Ellis Intermedia Theater at the University of North Texas of three computer music-intermedia compositions: Shakespeare quartet for 4 acoustic guitars; A noite, porem, rangeu e quebrou, for instrument of low pitch range, tape and computer; and Help me remember, for performer, Synclavier, interactive MIDI computer music system and slides.

APA, Harvard, Vancouver, ISO, and other styles

10

Aramburu, Roberto Horacio. "Expanding guitar production techniques : building the guitar application toolkit (GATK)." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/1301.

Full text

Abstract:

The purpose of this thesis was to build the Guitar Application ToolKit (GATK), a series of applications used to expand the sonic capabilities of the acoustic/electric stereo guitar. Furthermore, the goal of the GATK was to extend improvisational capabilities and the compositional techniques generated by this innovative instrument. During the GATK creation process, the current production guitar techniques and overall sonic result were enhanced by planning and implementing a personalized electroacoustic performance set up, designing custom-made performance interfaces, creating interactive compositional strategies, crafting non-standardized sounds, and controlling various music parameters in real-time using the Max/MSP programming environment. This was the first thesis project of its kind. It is expected that this thesis will be useful as a reference paper for electronic musicians and music technology students; as a product demonstration for companies that manufacture the relevant software; and as a personal portfolio for future technology related-jobs.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Electronic and guitar music"

1

Davidovsky, Mario. Synchronisms: No. 10, guitar and tape. C.F. Peters, 1995.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Reich, Steve. Electric counterpoint: For guitar and tape or guitar ensemble. Hendon Music, 1990.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Fliegler, Ritchie. Amps!: The other half of rock 'n' roll. Edited by Eiche Jon F. H. Leonard Pub. Corp., 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Bob, Ward. MIDI for guitarists. Amsco, 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Bob, Ward. MIDI for guitarists. Amsco Publications, 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Amped: The illustrated history of the world's greatest amplifiers. Voyageur Press, 2012.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Anderton, Craig. Midi for musicians. AMSCO, 1986.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Anderton, Craig. MIDI for musicians. Amsco Publications, 1986.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Canciones para el recuerdo. Magna, 2006.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Tipbook amplifiers and effects: The complete guide. Hal Leonard, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Electronic and guitar music"

1

Clauhs, Matthew, Bryan Powell, and Ann C. Clements. "Guitar." In Popular Music Pedagogies. Routledge, 2020. http://dx.doi.org/10.4324/9780429294440-4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Weekhout, Hans. "Mixing | Guitar." In Music Production. Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-22.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Weekhout, Hans. "Advanced Mixing Techniques | Guitar." In Music Production. Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-31.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Abeßer, Jakob. "Automatic String Detection for Bass Guitar and Electric Guitar." In From Sounds to Music and Emotions. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6_18.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Werner, Duncan, Bruce Wiggins, and Emma Fitzmaurice. "Development of an Ambisonic Guitar System." In Innovation in Music. Focal Press, 2020. http://dx.doi.org/10.4324/9780429345388-10.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Özaslan, Tan Hakan, Enric Guaus, Eric Palacios, and Josep Lluis Arcos. "Identifying Attack Articulations in Classical Guitar." In Exploring Music Contents. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23126-1_15.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Clauhs, Matthew, Bryan Powell, and Ann C. Clements. "Introduction to Guitar, Bass, and Ukulele." In Popular Music Pedagogies. Routledge, 2020. http://dx.doi.org/10.4324/9780429294440-3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Guitar and Classroom Teaching." In The Teaching of Instrumental Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-14.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Hartmann, William M. "Electronic Music." In Principles of Musical Acoustics. Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_27.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Kaul, Timor. "Electronic Body Music." In Handbuch Popkultur. J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05601-6_18.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Electronic and guitar music"

1

Alcabasa, Lance, and Nelson Marcos. "Automatic Guitar Music Transcription." In 2012 International Conference on Advanced Computer Science Applications and Technologies (ACSAT). IEEE, 2012. http://dx.doi.org/10.1109/acsat.2012.78.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Dittmar, Christian, Andreas Mannchen, and Jakob Abeber. "Real-time guitar string detection for music education software." In 2013 14th International Workshop on Image Analysis for Multimedia Interactive Services (WIAMIS). IEEE, 2013. http://dx.doi.org/10.1109/wiamis.2013.6616120.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Humphrey, Eric J., and Juan P. Bello. "From music audio to chord tablature: Teaching deep convolutional networks toplay guitar." In ICASSP 2014 - 2014 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2014. http://dx.doi.org/10.1109/icassp.2014.6854952.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Li, Dejun, and Tian Xia. "Electronic music clothing." In International conference on Management Innovation and Information Technology. WIT Press, 2014. http://dx.doi.org/10.2495/miit130121.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Irons, Jonathan, and Martin Schmucker. "Fingerprinting of music scores." In Electronic Imaging 2004, edited by Edward J. Delp III and Ping W. Wong. SPIE, 2004. http://dx.doi.org/10.1117/12.526758.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Guoping You and Wanghui Zeng. "Electronic music box design." In 2016 2nd IEEE International Conference on Computer and Communications (ICCC). IEEE, 2016. http://dx.doi.org/10.1109/compcomm.2016.7924848.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Hayes, Lauren. "Live Electronic Music Performance." In MOCO '18: 5th International Conference on Movement and Computing. ACM, 2018. http://dx.doi.org/10.1145/3212721.3212891.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Trickett, Terry. "Visual Music." In Electronic Visualisation and the Arts (EVA 2014). BCS Learning & Development, 2014. http://dx.doi.org/10.14236/ewic/eva2014.53.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Raphael, Christopher, and Rong Jin. "Optical music recognition on the International Music Score Library Project." In IS&T/SPIE Electronic Imaging, edited by Bertrand Coüasnon and Eric K. Ringger. SPIE, 2013. http://dx.doi.org/10.1117/12.2040247.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Smith, Wilson. "Music lessons." In ACM SIGGRAPH 99 Electronic art and animation catalog. ACM Press, 1999. http://dx.doi.org/10.1145/312379.313026.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Electronic and guitar music"

1

Hickey, James. The Electronic Hardware Music Subculture in Portland, Oregon. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.7470.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

Full text

Abstract:

The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!