Relevant bibliographies by topics / Men in music

Contents

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

Academic literature on the topic 'Men in music'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 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 'Men in 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 "Men in music"

1

Anderson, Robert, David Blum, Guarneri Quartet, and Melvin Berger. "Men and Music." Musical Times 128, no. 1734 (August 1987): 439. http://dx.doi.org/10.2307/965010.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Hill, Rosemary Lucy. "Men, masculinity, music and emotions." Information, Communication & Society 19, no. 12 (March 4, 2016): 1784–86. http://dx.doi.org/10.1080/1369118x.2016.1157621.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Macht, Alexandra. "Men, masculinity, music and emotion." NORMA 13, no. 1 (May 24, 2017): 59–61. http://dx.doi.org/10.1080/18902138.2017.1330567.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

McDowell, Amy D. "Aggressive And Loving Men." Gender & Society 31, no. 2 (March 16, 2017): 223–44. http://dx.doi.org/10.1177/0891243217694824.

Full text
Abstract:
This research uses Christian Hardcore punk to show how evangelical Christian men respond to changes in gender relations that threaten hegemonic masculinity through a music subculture. Drawing on interviews and participant observations of live music shows, I find that Christian Hardcore ministry involves a hybrid mix of aggressive and loving performances of manhood. Christian Hardcore punk men fortify the idea that men and women are essentially opposites through discourse and the segregation of music spaces, even as they deviate from dominant ideas of what makes a man in their strategy of openly expressing the “loving” of secular men. The mechanism for this is the interactions in concert spaces. These findings offer a conceptual move away from studying “godly” masculinity as intrinsically distinct from secular masculinity and illustrate how religious masculinities can be both hegemonic and “soft.”
APA, Harvard, Vancouver, ISO, and other styles
5

Mellers, Wilfrid, and Michael Broyles. "Odd men in." Musical Times 146, no. 1890 (April 1, 2005): 109. http://dx.doi.org/10.2307/30044078.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Heavisides, Canon Neil. "Men of Glass." Musical Times 138, no. 1847 (January 1997): 2. http://dx.doi.org/10.2307/1003407.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

McKissack, Fraser. "Book Review: Men, Masculinity, Music and Emotions." Cultural Sociology 11, no. 1 (February 15, 2017): 131–33. http://dx.doi.org/10.1177/1749975516689520a.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Jenkins, Martin, John Philip Sousa, and Paul E. Bierley. "Marching along: Recollections of Men, Women and Music." Notes 52, no. 2 (December 1995): 480. http://dx.doi.org/10.2307/899060.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Fucci, Donald, Linda Petrosino, and Molly Banks. "Effects of Gender and Listeners' Preference on Magnitude-Estimation Scaling of Rock Music." Perceptual and Motor Skills 78, no. 3_suppl (June 1994): 1235–42. http://dx.doi.org/10.2466/pms.1994.78.3c.1235.

Full text
Abstract:
The purpose of the present study was to examine the effects of gender and listener preference on magnitude-estimation scaling of rock music. Four groups of young adults were tested: 14 women who liked rock music, 14 women who disliked rock music, 14 men who liked rock music, and 14 men who disliked rock music. Subjects were instructed to assign numerical values to a random series of nine suprathresh-old intensity levels of a 10-sec. sample of rock music. Analysis indicated that there was no difference in scaling performance between women and men. There was a difference in scaling performance between the group of women who liked rock music and the group of women who disliked rock music. There was no difference in the way the two groups of men performed the scaling task. These results suggest that men and women perform magnitude-estimation scaling of rock music similarly. Women, however, allow preference to influence how they choose numbers during magnitude-estimation scaling tasks whereas men do not.
APA, Harvard, Vancouver, ISO, and other styles
10

Knobloch, Silvia, and Dolf Zillmann. "Appeal of Love Themes in Popular Music." Psychological Reports 93, no. 3 (December 2003): 653–58. http://dx.doi.org/10.2466/pr0.2003.93.3.653.

Full text
Abstract:
The relationship between romantic satisfaction versus discontent and a preference for music celebrating versus lamenting love is explored. The satisfaction/discontent was ascertained in 60 college undergraduate women and men who later freely listened to music from a sampling of selections. The duration of their self-determined exposure to love-celebrating versus love-lamenting music was unobtrusively recorded by computer software. Romantically satisfied women and men showed a preference for love-celebrating music, whereas discontented women and men preferred love-lamenting music. Romantically discontent women and men preferred love-lamenting music presented by performers of their own sex. The findings indicate young adults' inclination to match emotions expressed in music about love with the emotions experienced in their own romantic situation.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Men in music"

1

Kullsvik, My. "“Jag kan ju egentligen inte läsa noter men…” : En studie om hur en kör med tradition av gehörsbaserad inlärning kan arbeta med noter samt arbeta på distans." Thesis, Örebro universitet, Musikhögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-85692.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Svärd, Magnus. "”Jo, men sjunga rock är ju svårt” : En undersökande pedagogisk studie i hårdrockssång." Thesis, Örebro universitet, Musikhögskolan, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-92813.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Nordquist, Ebba-Sofie. "”Jag vet inte riktigt vad som ger mer, men jag tror att det ger mer” : Om grundskollärares förståelse av att se teaterföreställningar med sina elever." Thesis, Örebro universitet, Musikhögskolan, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-76660.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Festi, Elizabeth. "Charles Ives: The Men that Made the Music." Capital University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=caphonors1589408226532052.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Lindström, Niklas. "”Men så här gör väl inte riktiga kompositörer? Drar kort och så...?” : Om att sänka trösklarna i kompositionsundervisning." Thesis, Örebro universitet, Musikhögskolan, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-57984.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Bolin, Andersson Rasmus. "Du kan ljud, men vad kan du mer? : En kvalitativ intervjustudie om musikproducenters och studioteknikers olika roller i inspelningssamanhang." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-54974.

Full text
Abstract:
Denna studie undersöker hur musikproducenter och studiotekniker upplever sina olika roller i studioinspelningssammanhang. Detta utförs genom att studera studioteknikers och musikpro- ducenters skildringar av sig själva samt av vilka färdigheter som ingår i dessa olika roller. Studiens vetenskapsteoretiska ansats är kvalitativ, och bygger på ett hermeneutiskt perspektiv. Den metod som använts för att utföra insamlingen av data är semistrukturerade, kvalitativa intervjuer med tre personer som arbetar, eller har arbetat, som musikproducenter eller studio- tekniker. Ljudupptagningarna från intervjuerna har transkriberats, bearbetats och analyserats med hjälp av tematisk analys utifrån ett hermeneutiskt perspektiv. I resultatkapitlet klarläggs både informanternas syn på de olika rollerna samt deras uppfattning av att dessa roller ibland innehas av en och samma person. I studiens avslutande kapitel diskuteras dessa teman i relat- ion till studiens angivna bakgrundskapitel. Studien visar bland annat att informanterna, delvis tvärtemot den tidigare presenterade forskningen, anser att musikproducenter behöver ett stort mått musikteoretiska kunskaper för att kunna utföra sina uppgifter, att studiotekniker, förutom ljudtekniska kunskaper, även är i behov av konstnärliga kunskaper på ett djupare plan samt att många väljer att ta sig an rollen som både tekniker och producent på grund av ekonomiska och praktiska aspekter. Det fastställs även att gränserna mellan studiotekniker- och musikpro- ducentrollen i viss mån håller på att suddas ut.
This study aims to explore how music producers and recording engineers experience their different roles in a studio-recording context. This is done by examining recording engineer’s and music producer’s depictions of themselves and of the different sets of skills required within these roles. A hermeneutic perspective is the base for the scientific-theoretic approach of this qualitative study. The method for collecting data is semi structured, qualitative interviews and three persons identifying themselves as either music producer or recording engineer have been interviewed. The sound recordings from the interviews have been transcribed, processed and analyzed using thematic analysis and a hermeneutic approach. How both the informants’ perception of the different roles, as well as their understanding of these roles sometimes being held by one and the same person is being explained in the chapter result. The finishing chapter discusses these themes in relation to the previously given background. Among other things, the discussion chapter shows that the informants, partly opposite to what previously given research shows, thinks that music producers need theoretical knowledge in music to be able to carry out their tasks. It is highlighted that recording engineers, besides mastery of audio and technology, need to acquire a deeper level of artistic skills. It is also made clear that the lines between the recording engineer and the music producer are being erased, and that many people, due to economical and practical reasons, choose to take on the role as both music producer and recording engineer.
APA, Harvard, Vancouver, ISO, and other styles
7

Schlee, Christoffer, and Sebastian Hultkrantz. "Man måste inte vara musikalisk men det är roligt om man är det : Gymnasieelvers syn på musikalitet." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2621.

Full text
Abstract:
Uppsatsens syfte är att undersöka vad gymnasieelever har för attityder till begreppet musikalitet. För att skapa en bild av vilka attityder som finns har en enkätundersökning genomförts bland tredjeårselever på en gymnasieskola i sydöstra Sverige. Resultatet av undersökningen visar att elever generellt betraktar musikalitet som en sekundär egenskap, något som är kul men inte nödvändigt. Det är också en skillnad i attityd mellan elever som själva aktivt spelar ett musikinstrument eller sjunger och de som inte gör det. I tidigare forskning talas det om att musikalitet är en antingen är huvudsakligen medfödd eller en huvudsakligen förvärvad egenskap. Bland eleverna är förhållningssättet till detta ganska spritt även om något fler anser att musikalitet främst är en medfödd egenskap.
APA, Harvard, Vancouver, ISO, and other styles
8

Beck, Kimberly Jean. "Music as a delight of god and men : absolutism, genre, and instrumental music in seventeenth-century Salzburg." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/53925.

Full text
Abstract:
The seventeenth century was an age of absolutist ideology during which many European princes took upon themselves trappings of both religious and secular authority. Composers in the service of absolutist patrons were compelled to provide music that could move easily between sacred and secular venues and represent both facets of the prince’s power. Contemporary conceptions of musical classification exhibit this porous threshold between religious and profane genres and performance spaces. In this dissertation, I show how a flexible conception of musical genre—one in which traditionally sacred and secular idioms were blended in diverse ways—illustrated the dual nature of the authority of Salzburg’s absolutist Prince Archbishop. The diverse oeuvre of Salzburg’s composers calls into question the very definition of musical genre in the period. While a modern conception of fixed musical genres is manifest in theoretical treatises of the time, musical evidence suggests that well-defined genre classifications did not practically exist in the seventeenth century. Rather, composers took a malleable approach to genre, often blending different texts, musical forms, and styles to craft musical compositions latent with meanings that encompass several genres. In the first chapter, I consider genre as described in contemporary treatises and argue that modern literary genre theory provides a useful lens for the study of genre in the period. Chapter 2 turns to the sacred repertoire of Salzburg, which in its variety of centonized texts, timbres, and instrumentations deviates from the stylistic norms of liturgical genres. In Chapter 3 I explore the representational capabilities of the large-scale works performed during spectacles that were symbolic of the power and piety of Salzburg’s Prince Archbishop. Salzburg’s instrumental ensemble sonatas, explored in Chapter 4, reveal two particular uses for the term “sonata” and point to the genre as a site of both representation and innovation. The final chapter considers the solo sonata as a devotional aid in the context of cyclic spiritual exercises in Salzburg, where music transcended the limitations of genre to move between notionally sacred and secular performance spaces to represent the piety and power of the Prince Archbishop.
Arts, Faculty of
Music, School of
Graduate
APA, Harvard, Vancouver, ISO, and other styles
9

Kerfoot, Janice. "Babylon boys don't dance : music, meaning, and young men in Accra." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99727.

Full text
Abstract:
This thesis explores the landscape of popular music culture in Accra as it is experienced by a loosely interactive group of young self-identified rastafarians. The global pop-culture idiom born of the Jamaican socio-religious movement of rastafari allows these young Accrans to articulate self-concepts vis-a-vis very current trends in local and foreign youth cultures (such as hiphop), with reference to an ostensibly ageless collective identity. Questions of authenticity are made complex by the movement's weighty historical and political roots, its nuanced symbolic bonds with "local African culture", and the semiotic plasticity of its identifying practices. Ethnographic portions of this thesis are based on three months of fieldwork in Accra, during the summer of 2004. Key theoretical points are gleaned from a critical examination of early British Cultural Studies and its theoretical progeny, including the body of recent work tentatively dubbed "post-subcultural studies".
APA, Harvard, Vancouver, ISO, and other styles
10

Winters, Ben. "Korngold's merry men : music and authorship in the Hollywood studio system." Thesis, University of Oxford, 2006. http://ora.ox.ac.uk/objects/uuid:c5f13b67-57e1-48d7-aa97-2867b2bfd36c.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Men in music"

1

de Boise, Sam. Men, Masculinity, Music and Emotions. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137436092.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Why men lie. London: Jonathan Cape, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Masculinities and music: Engaging men and boys in making music. Newcastle: Cambridge Scholars, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Salisbury, Ben. Black mirror: Men against fire. [United Kingdom]: Invada, 2017.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Horne, Lena. The men in my life. New York: Three Cherries Records, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Sircom, Malcolm. Mr Men musical: Book, music, and lyrics. London: Samuel French, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Weltner, Peter. The risk of his music: Stories. Saint Paul, Minn: Graywolf Press, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Ackroyd, Peter. English music. New York: Knopf, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Ackroyd, Peter. English music. London: H. Hamilton, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Men, masculinity and the Beatles. Burlington, VT: Ashgate, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Men in music"

1

de Boise, Sam. "Men, masculinities and music." In Routledge International Handbook of Masculinity Studies, 414–24. Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series: Routledge international handbooks: Routledge, 2019. http://dx.doi.org/10.4324/9781315165165-41.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Jagodzinski, Jan. "The New Castrati: Men II Boys." In Music in Youth Culture, 151–67. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9780230601390_11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

de Boise, Sam. "Masculinity, Music and the Mass Market." In Men, Masculinity, Music and Emotions, 70–93. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137436092_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

de Boise, Sam. "Music Listening, Emotions, Age and Context." In Men, Masculinity, Music and Emotions, 94–120. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137436092_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

de Boise, Sam. "Conclusion: Rethinking Men, Masculinity, Music and Emotions." In Men, Masculinity, Music and Emotions, 176–87. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137436092_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

de Boise, Sam. "Introduction." In Men, Masculinity, Music and Emotions, 1–21. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137436092_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

de Boise, Sam. "A History of Sex and Gender Differences in Emotion." In Men, Masculinity, Music and Emotions, 22–44. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137436092_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

de Boise, Sam. "Boys Don’t Cry? Men, Masculinity and Emotions." In Men, Masculinity, Music and Emotions, 45–69. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137436092_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

de Boise, Sam. "Distaste, Discourse and the Politics of Emotional Authenticity." In Men, Masculinity, Music and Emotions, 121–44. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137436092_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

de Boise, Sam. "Affect, Embodiment and Masculinity." In Men, Masculinity, Music and Emotions, 145–75. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137436092_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Men in music"

1

Kohl, Marie-Anne. "Die weinende Jury. »Geschlechtslose« Tränen bei globalen Musik-Castingshows?" In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.59.

Full text
Abstract:
Tears are flowing. Whether Yvonne Catterfeld, Kazim as-Sahir, Unati Msenga-na, Liu Huan, Simon Cowell or Lira – they are all part of a jury of global music casting show formats such as The Voice, Idol or Got Talent and show their tears in front of the camera, seemingly ashamed and yet completely uninhibited. Their tears flow in reaction to ‘particularly soulful’ music titles or to the candidates’ tragic personal stories, paired with the ‘right’ song selection. The display of great emotions is an essential element of reality TV formats. With Sara Ahmed, they can be understood in the sense of an ‘affective economy’ as an effect of their circulation, their staging as a specific ‘emotional style’ of dealing with emotions (Eva Illouz). The circulation of affects in casting shows is a global one, since the formats, developed in Europe, have produced local versions in over 60 countries worldwide. Emotions play an important role in the successful localization of the formats and define a complex area of conflict between a sensitization to socio-cultural characteristics and the ‘reproduction of culturalistic concepts’ (Laura Sūna) or clichés. In European cultural history, tears have developed a special significance as guarantors of the authenticity of empathy (Sigrid Weigel), and are generally associated with femininity, however at the same time have been film-historically recoded as ‘gender-neutral’ (Renate Möhrmann). Keeping in mind that all these casting show formats have been exported from Europe, these observations are of special interest, especially since one can see men and women crying equally in the Arabic, German or South African versions of e. g. The Voice. This article questions the concurrence of musical performance, display of tears, gender performance and the translocal dramaturgy of music casting shows.
APA, Harvard, Vancouver, ISO, and other styles
2

Seipelt, Agnes. "Digitale Edition und Harmonische Analyse mit MEI von Anton Bruckners Studienbuch." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.100.

Full text
Abstract:
The poster shows the results obtained in the project “Digital Music Analysis with the Techniques of the Music Encoding Initiative (MEI) using Anton Bruckner’s compositional studies as an example” (2017 to 2019). On the one hand, the project had the goal of presenting a digital edition of Anton Bruckner’s study book, which he produced during his lessons with Otto Kitzler from 1861 to 1863. An edition of the music in the textbook encoded with MEI and displayed using Verovio and the facsimile can be displayed simultaneously. On the other hand, an automated harmonic analysis of this music was to be designed. For this purpose, keys are recognized using the Krumhansl-Schmuckler algorithm that is based on a resource of pitch classes which are compared with reference values and thus their similarity is calculated. Based on this, chord recognitions are carried out, which are then linked to the keys in the last step and converted to a roman numeral analysis.
APA, Harvard, Vancouver, ISO, and other styles
3

Sapov, Oleksii. "Algorithmische Automatisierung komplexer Notationsregeln in MEI-XML am Beispiel von Versetzungszeichen." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.98.

Full text
Abstract:
Algorithmic automation of the complex music notation rules in MEI–XML through the example of the accidentals: The article demonstrates how music notation rules can be formalized into a computer algorithm. In particular, it handles the rule, whether the accidentals should be rendered or not when they repeat on the notes of the same pitch in the same measure. The decision process is described step-by-step while referring to the music notation rules. The algorithm was implemented in the XSLT-language for the needs of the Digital Interactive Mozart Edition and can be applied to MEI data. The tool can be downloaded from <https://github.com/ismdme/DIME-tools>.
APA, Harvard, Vancouver, ISO, and other styles
4

Paulo, Avner, Carlos Eduardo Oliveira De Souza, Bruna Guimarães Lima e Silva, Flávio Luiz Schiavoni, and Adilson Siqueira. "Black Lives Matter." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10459.

Full text
Abstract:
The Brazilian police killed 16 people per day in 2017 and 3/4 of the victims were black people. Recently, a Brazilian called Evaldo Rosa dos Santos, father, worker, musician, and black, was killed in Rio de Janeiro with 80 rifle bullets shot by the police. Everyday, the statistics and the news show that the police uses more force when dealing with black people and it seems obvious that, in Brazil, the state bullet uses to find a black skin to rest. Unfortunately, the brutal force and violence by the state and the police to black people is not a problem only in this country. It is a global reality that led to the creation of an international movement called Black Lives Matter (BLM), a movement against all types of racism towards the black people specially by the police and the state. The BLM movement also aims to connect black people of the entire world against the violence and for justice. In our work, we try to establish a link between the reality of black people in Brazil with the culture of black people around the world, connecting people and artists to perform a tribute to the black lives harved by the state force. For this, the piece uses web content, news, pictures, YouTube’s videos, and more, to create a collage of visual and musical environment merged with expressive movements of a dance, combining technology and gestures. Black culture beyond violence because we believe that black lives matter. such as the Ku Klux Klan, which bring the black population of the world into concern for possible setbacks in their rights. In Brazil, it is not different. Brazil is the non African country with the biggest afro descendant population in the world and one of the last country in the world to abolish slavery. Nowadays, a black person is 3 times more propense to be killed and most part of the murders in the country happened to afro Brazilians. Marielle Franco, a black city councillor from Rio, the only black female representative and one of seven women on the 51-seat council was killed in 2018. The killers were two former policeman. According to Human Rights Watch, the police force in the state of Rio de Janeiro, Brazil, killed more than 8,000 people between 2005 and 2015, 3/4 of them were black men. At the same time, the African culture strongly influenced the Brazilian culture and most part of the traditional Brazilian music and rhythms can be considered black music.
APA, Harvard, Vancouver, ISO, and other styles
5

Shipovskaia, L. P. "Man and music (philosophical aspect)." In Scientific achievements of the third millennium. SPC "LJournal", 2018. http://dx.doi.org/10.18411/scc-05-2018-18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Chiu, Shih-Chuan, and Man-Kwan Shan. "Computer Music Composition Based on Discovered Music Patterns." In 2006 IEEE International Conference on Systems, Man and Cybernetics. IEEE, 2006. http://dx.doi.org/10.1109/icsmc.2006.384827.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

López-Íñiguez, Guadalupe, and Tuula Jääskeläinen. "How about equality and equity in higher music education? A theoretical framework for researching quality of music teaching and learning." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5417.

Full text
Abstract:
While quality development has an important role in higher education in Finland, its connection with equality and equity in teaching and learning music is not often mentioned. Most of the discussions about equality in education have focused on how to equalize access to and participation in education, but there are disagreements about what the very concepts of equality and equity mean in education. When striving to achieve equality in higher music education, the use of learner-centered pedagogies may promote an engaging and satisfying learning experience. We illustrate a more holistic approach in teaching and learning music by adapting the equality-equity model developed by Espinoza (2007) to give an overview of dimensions of equality and equity with reference to the different stages of the educational process at the music university level. Constructivist research and phenomenographic research in teaching and learning music suggest that the conceptions held by teachers and students about teaching and learning can be relevant factors in the pursuit of change in educational practices. On this basis, we develop a theoretical framework and suggest some remedies for the research of teaching and learning in music universities aimed at developing more holistic quality in higher music education.
APA, Harvard, Vancouver, ISO, and other styles
8

Nakamura, Chisa, and Takehisa Onisawa. "Music/lyrics composition system considering user's image and music genre." In 2009 IEEE International Conference on Systems, Man and Cybernetics - SMC. IEEE, 2009. http://dx.doi.org/10.1109/icsmc.2009.5346636.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Cividini, Iacopo. "Zwischen klassischer Musikphilologie und angewandter Informatik: Die Digitale Mozart-Edition (DME) der Stiftung Mozarteum Salzburg." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.51.

Full text
Abstract:
With the Digital Mozart-Edition (DME), the Salzburg Mozarteum Foundation and the Packard Humanities Institute, Los Altos (California), intend to build a bridge between music philology and informatics using the example of Wolfgang Amadé Mozart’s oeuvre. The aim of the project is to edit Mozart’s complete works as well as letters, documents and text sources according to scholarly criteria and in a fully digital format available free of charge on the internet. The core project of the DME, the Digital Interactive Mozart Edition (DIME), is conceived as a further development of the Neue Mozart-Ausgabe (NMA). Following the principle “code equals edition”, all musical texts and their critical documentation are encoded in the XML-based format by the Music Encoding Initiative (MEI). All variants and editorial interventions of the music can be made visible through The Digital Mozart Score Viewer (MoVi), a visualisation tool built around the Verovio music engraving library.
APA, Harvard, Vancouver, ISO, and other styles
10

Lee, Jin Ha, Trent Hill, and Lauren Work. "What does music mood mean for real users?" In the 2012 iConference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2132176.2132191.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Men in music"

1

Irminger, Bente. Økt interesse for kreativitet åpner for nye designerroller- men skaper også behov for rolleavklaringer. Universitetet i Bergen KMD, January 2018. http://dx.doi.org/10.22501/kmd-ar.1090265.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

Full text
Abstract:
Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
APA, Harvard, Vancouver, ISO, and other styles
3

Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

Full text
Abstract:
Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Men in music' for particular source types:
Journal articles Dissertations / Theses Books
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!

To the bibliography