Relevant bibliographies by topics / Music - academy of music - music market

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  2. Dissertations / Theses
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Academic literature on the topic 'Music - academy of music - music market'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Music - academy of music - music market"

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Smyrnova, Tetyana. "MUSIC AND CHOIR EDUCATION IN UKRAINE XVI–XVIII СЕNTURIES." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 28–32. http://dx.doi.org/10.36550/2415-7988-2021-1-195-28-32.

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The article analyzes the development of music and choral education during the Slavic Renaissance and Ukrainian Baroque. The special significance of the ideas of spirituality and the revival of Ukrainian-Slavic values of religious and folk singing is revealed in view of the absence of statehood, the decline of Orthodox musical traditions. The significance of the reformist ideas of «purification of the church» and the culture of the Enlightenment is highlighted. Positive results of the development of music and choral education on the basis of Renaissance-Baroque (Cossack) Ukrainian culture were revealed. The value of Cossack-kobzar music and choral education, regional music and choral schools, the phenomenon of Kyiv-Mohyla Academy is emphasized. The analysis of scientific sources testifies to the intensive development of music and choral education in Ukraine during the sixteenth and eighteenth centuries, which took place in difficult conditions of the liberation struggle of Ukrainians for national culture, spirituality and consciousness. The achievements of the national music and choral education of the Slavic Renaissance include the preservation of ideas and traditions of the post-Byzantine Balkan-Slavic culture of Orthodox singing (monasteries, parish schools); appeal to Roman Catholic music and choral education (Jesuit, Latin, Protestant, Uniate secondary and higher institutions); a bright revival of humanistic and educational slogans, traditions of national music and choral education, which took place taking into account European achievements (Ostroh Academy, fraternal schools). Musical and choral education of the Hetmanate (Ukrainian Baroque), despite the gradual destruction of statehood, was marked by the revival of Ukrainian culture of the Renaissance-Baroque (Cossack) type. Centers of kobzar-Cossack music and choral education and culture, regional singing schools, spiritual and singing Orthodox culture flourished (Kyiv-Mohyla Academy, monastic, hierarchical, secular city centers) flourished. Ukrainian music and choral education was glorified by the geniuses of the Ukrainian people M. Diletsky, D. Rostovsky, D. Bortnyansky, M. Berezovsky, A. Wedel, G. Skovoroda. The prospects for further research include a systematic analysis of trends in music and choral education in Ukraine in the populist period.
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Anderson, Martin. "London, Royal Academy of Music, Pēteris Vasks Piano Quartet." Tempo 58, no. 228 (April 2004): 76–77. http://dx.doi.org/10.1017/s0040298204360158.

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Latvian Independence Day, 18 November (commemorating the day 85 years ago when Latvia proclaimed its independence from Russia), was marked in London by a mini-concert in the Royal Academy of Music: a handful of Romantic songs by Emils Dārziņş, delivered in the rich bass voice of Pauls Putninş, and the first UK performance of Pēteris Vasks's Piano Quartet, composed in 2000.
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Brandão, Amélia Maria Pinto da Cunha, and Rodrigo Ferreira de Oliveira. "INTERNATIONALIZATION STRATEGIES IN MUSIC FESTIVALS." Scientific Annals of Economics and Business, Special Issue (2019): 91–112. http://dx.doi.org/10.47743/saeb-2019-0018.

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The internationalization of music festivals is a very recent and very complex process – due to the subjectivity of the theme – that encompasses the areas of management, internationalization, and culture, and has intensified in recent years. This paper investigates the ways in which music festivals are currently internationalized and the internal processes prior to this decision. Its primary objective is to identify the main strategies of internationalization used by companies owning cultural goods, such as music festivals. Another goal is to fill an academic gap between internationalization theories and cultural management, contributing with the compilation and description of the main techniques employed by the market through a qualitative approach to the methodology and content analysis on decision-makers’ interviews. The results can confirm the internationalization model mostly used by the sector, which prefers a phased method. Main entry strategies, territory-choosing process, and motivations and reasons behind this process are also investigated.
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Capistrano, Erik Paolo. "Understanding Filipino Korean Pop Music Fans." Asian Journal of Social Science 47, no. 1 (March 12, 2019): 59–87. http://dx.doi.org/10.1163/15685314-04701004.

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Abstract Hallyu’s success has caught the attention of academic research of various fields of expertise. This research endeavours to understand what makes Korean Pop music popular to Filipinos, addressing two research gaps: the lack of empirical management discourse, and the lack of focus on the Philippine KPop market. This research employs a theoretical model derived from an academic and practical product development and consumer behaviour discourse. Data collected from 932 Filipino respondents was subjected to several statistical tests, including exploratory factor analysis (EFA), hierarchical regression, and analysis of variance (ANOVA). The results suggest that Filipino KPop fans are more concerned about the external environment that influences what is popular, rather than what looks and sounds good. Furthermore, KPop fan behaviour homogeneously cuts across age, gender, and backgrounds. This presents several useful theoretical and managerial implications enhancing the overall picture of KPop’s international impact.
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Walkusz, Marta. "Kolekcja muzyczna Kazimierza Czekotowskiego (1901-1972) w zbiorach Biblioteki Głównej Akademii Muzycznej im. Stanisława Moniuszki w Gdańsku." Z Badań nad Książką i Księgozbiorami Historycznymi 11 (December 29, 2017): 277–97. http://dx.doi.org/10.33077/uw.25448730.zbkh.2017.39.

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The Main Library of Stanisław Moniuszko Academy of Music in Gdansk gathers and stores many collections submitted by different people, especially by the pedagogues of the Academy. One of them is a collection of notes used in artistic work and maybe in vocal teaching by the outstanding Polish singer Kazimierz Czekotowski. The article describes the contents of the collection, particularly the items concerning composers and publishers. The most interesting are hand-written dedications, because, in many cases, it’s the only one document confirming artistic contacts between a composer and a performer. It also enables determining the date of composing and the first performance of the work or – indirectly – help identify publication dates. Secondly, it is drawn up a list of publishers present in these collection, which is a contribution to the characteristics of the situation of the Polish music publishing market… (time limits due to publication dates of the items from the Czekotowski collection).
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ČIERNA, ALENA. "ELECTROACOUSTIC MUSIC AND THE SLOVAK MUSICAL AVANT-GARDE IN THE 1960S." AD ALTA: 11/01 11, no. 1 (June 30, 2021): 59–64. http://dx.doi.org/10.33543/11015964.

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In the 1960s, the development of music in Slovakia was marked by prominent generational and stylistic confrontations of the compositional poetries of the previous generations of composers and the just emerging one. In the composers’ community, an initiative was gaining a foothold that reassessed the practices, norms, and achievements of the previous developmental stages of Slovak music and looked for new points of departure. In certain stages of the given period, the first graduates of the Academy of Performing Arts (Ilja Zeljenka, Juraj Pospíšil, Pavol Šimai, Ladislav Kupkovič, Peter Kolman, Roman Berger, Jozef Malovec, Miroslav Bázlik, Ivan Parík, Tadeáš Salva, and others) entered the musical scene. The genesis and the formation of the Slovak musical avant-garde in the 1960s was determined by their quest for the novel possibilities of expression and the compositional techniques of the so-called New Music of Western Europe. They included experimenting with previously unknown electrogenic compositional materials and techniques of electroacoustic music. Slovak electroacoustic music, which achieved success in Slovakia and abroad already in the 1960s, emerged first on a private basis, later in the Sound Studio of the Czechoslovak Television, and, primarily, in the Experimental Studio of the Czechoslovak Radio.
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Kostiuk, E. V. "Mass music as a cultural phenomenon of the XX century." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 63–67. http://dx.doi.org/10.30725/2619-0303-2020-3-63-67.

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The article considers mass music as a socio-artistic phenomenon in the culture of the XX century. The article covers the issues of socio-cultural and technological factors that contributed to the development of music as a mass phenomenon in the XX century. The phenomenon of mass music is interpreted in comparison with the elite, academic direction in music, and the features of the social customer are studied. Evaluation of mass music as an artistic and social phenomenon leads to the conclusion that entertainment, as its main function, has a number of features over the course of the century: from the emphasized relaxation dance in the modern era to the concept of play, outrage, and theatricality in the postmodern era. Analyzes the characteristics of mass music as «product of the era of consumption» in the modern art market, which has a «life cycle», and in the conditions of the competition task creators, it is not the embodiment of values and meanings, and their use for the long-term profi t. The article also explores the aspects of musical and artistic specifi city of the considered direction
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Verbitsky, Sergey A. "Approaches towards studying cultural industries and the analysis of their applicability within the reality of modern Russian culture." VESTNIK INSTITUTA SOTZIOLOGII 11, no. 3 (2020): 155–78. http://dx.doi.org/10.19181/vis.2020.11.3.668.

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This article features an overview of the common approaches towards studying cultural industries in general and music industries in particular, while describing means of developing “research design” (choosing theoretical perspective, posing research question and selecting methodological toolset), which are currently quite prevalent in culture study and sociology. The author examines the current main trends when it comes to researching cultural industries: the “cultural production perspective”, viewing cultural production as a combination of “creative clusters”, as well as an approach which sees collaborative networks as the primary actors in the cultural industry. The separately examined approaches towards studying cultural production in the music industry are as follows: examining the influence of market structure on consumer behavior, studying collaborative networks in music, studying the political dimension of music production, and finally communication between various levels of decision making within music industries. Also the article analyzes the most commonly used objects for criticism in a variety of theoretical-methodological approaches. The author evaluates the applicability of those methods utilized by sociology for studying musical and cultural production within the Russian music industry: social network analysis, qualitative and quantitative content-analysis, secondary analysis of statistical data, as well as in-depth and expert interview. Also the limitations of using the aforementioned methods when it comes to researching Russia’s musical-cultural industry are demonstrated. The analysis is summed up with a conclusion on these methods being highly applicable in further academic research within the field in question. Given the macro-economic development of the field of producing and consuming music in Russia, together with the complete digitization of these processes, the author assumes that the research of cultural and music industries is a rather promising prospect. The rate at which Russian musical and other cultural industries are currently undergoing transformation lead us to the conclusion that this could be a potentially relevant line of study in the realm of journalism and Academia.
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Saragih, Harriman. "Co-creation experiences in the music business: a systematic literature review." Journal of Management Development 38, no. 6 (July 8, 2019): 464–83. http://dx.doi.org/10.1108/jmd-11-2018-0339.

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Purpose Various literature have contextualised value co-creation concept in the music business and how that notion puts into practice in benefitting the actors in this particular business. The purpose of this paper is to review the extant literature to comprehend regarding the applicability of co-creation in music business which can be used to map and evaluate strategies used to stimulate and exercise co-creation experiences; focus from such co-creational activities; stages during which co-creation occurred; channels in which the music as cultural product is delivered; and the co-creative platform used that can be useful for practitioners as well as scholars in the music business. Design/methodology/approach Of the available academic databases that exist on the online platform, this study takes into account six scholarly databases, i.e., Emerald, EBSCO, ISI Web of Sciences, ProQuest, ScienceDirect and Scopus. Findings Having filtered through the initial 113 papers that fulfil the predetermined criteria, this study discovers 33 empirical journal and proceeding papers that have discussed the co-creation concept in the music context from 2011 to 2017. Practical implications The review practically implies that practitioners as well as scholars in the music or marketing field can first begin with planning and understanding the right strategy, focus, stage, channels and platforms before executing co-creational activities in the music business. This paper also speaks to the broader literature, particularly in the creative industries, that value co-creation can serve to be used to obtain monetary, experience or social value in the market using virtual and physical co-creative platforms. Other sectors in the creative industries can also infer that co-creation can be promoted and exercised through various orchestration strategies in several stages of the value chain. Originality/value This paper is the first to integrate five practical criteria as to how co-creation is applied and contextualised in the music business. It also contributes to the academic literature by presenting an exhaustive selective review of the value co-creation concept and its applicability to the music business.
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Schmisek, John. "This must be the place: Venues and urban space in underground music scenes." Journal of Urban Cultural Studies 7, no. 1 (March 1, 2020): 41–57. http://dx.doi.org/10.1386/jucs_00017_1.

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Art subcultures, and music scenes in particular, have featured prominently in academic discourse on gentrification in the neo-liberal city. Although scholarly accounts have done much to clarify the process through which music scenes become implicated and entangled within wider patterns of urban transformation and redevelopment, these studies often leave us with a flattened and undertheorized picture of the scenes themselves. Departing from David Ley’s conception of the ‘cultural field of gentrification’, I sketch out an analytical framework for understanding the heterogenous and contested character of music scenes in the face of urban change, focusing on a case study of the underground music scene in Rome’s Pigneto neighbourhood in 2017. As variegated waves of scene participants drift into new spaces, scenes coalesce into distinct territories, administered by venues and delineated by ‘scene ideologies’ ‐ matrices of ethical and aesthetic values and judgements constituting a collective scene habitus. This complicates any facile conception of artistic communities as either unwitting agents of gentrification or isolated underground enclaves; rather, premised on collective rituals of aesthetic judgement and differentiation, music scenes constitute a continuum of cultural production whose spatial practices both generate and subvert conditions for their eventual appropriation by market forces.
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Dissertations / Theses on the topic "Music - academy of music - music market"

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Wasson, Carla Sue. "An analysis of college applied woodwind positions in the academic labor market from 1983-1990 /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11226171.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.
Includes tables. Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Robert Pace. Includes bibliographical references (leaves 120-126).
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Perez, Julian. "Music Festivals: A Secondary Market Analysis." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1338.

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While the majority of the literature on secondary markets for tickets in the entertainment industry focuses on concerts and sporting events, this study aims to shed light specifically on the music festival resale market. Music festivals have risen in prominence in recent years, particularly among millennials, during the time that the internet has dramatically facilitated the resale of tickets through online marketplaces. With many of the top festivals selling out rapidly, a great deal of music fans turn to secondary markets for tickets. However, very little is known about the behavior of secondary markets for music festivals due to information not being readily available to the public. This study uses demand-side data including transaction prices and quantities acquired from one of the largest online secondary ticket marketplaces to examine market behavior. My findings show that on average, prices decline for music festivals as they approach, but that there are years for certain festivals where this isn’t the case. Other results show that markets for festivals with multiple weekends operate differently and that special artist performances such as band reunions can have a significant positive effect on consumer demand. Lastly, the majority of all ticket sales are found to take place in the final 30 days before music festivals transpire.
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Wennlo, Alexander, Adam Falk, and Victor Zhang. "The Business of Production Music : A Value Chain Approach to the Swedish Market for Production Music." Thesis, Internationella Handelshögskolan, Högskolan i Jönköping, IHH, Företagsekonomi, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-20232.

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Within this thesis we map the Value-Chains of the Swedish market for Production Music. The reason behind this is that the authors believe this sub-segment of the music industry to be relatively unexplored by business research. Thus increased knowledge should increase transparency for all market actors. We have gathered previous research regarding value chains in the music industry and compare this research to empirical findings on the Production Music Industry.  These findings are primarily gathered from three interviews with individuals in well informed positions within the industry. The three interviews are also backed up by secondary information found through industry websites and other vendors. Analysis indicates that there are two general forms of Value-Chains in the Production Music Industry that are significantly different from each other, and that these are either centered around the Swedish Performing Rights Organization STIM, or the relatively new internet based music library called Epidemic Sound. Specific forms of value delivered back and forth within these value chains consists of everything from education and coaching in production techniques, to monetary compensation and recognition. Analysis also shows that while there is a rather big difference in how the two general value chains are constructed, there seems to be less variation when it comes to how these value chains are governed.
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Styvén, Maria. "Exploring the online music market : consumer characteristics and value perceptions /." Luleå, 2007. http://epubl.ltu.se/1402-1544/2007/71/.

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Styvén, Maria. "Exploring the online music market : consumer characteristics and value perceptions." Doctoral thesis, Luleå tekniska universitet, Industriell Ekonomi, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-26440.

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The advent of the Internet and the digitization of music has resulted in a multitude of new challenges and opportunities for the recording industry. So far, sales of digital downloadable music have not compensated for the decrease in CD sales throughout the twentyfirst century. To attract new customers and successfully compete with file-sharing networks, commercial online music services need to meet customer expectations by delivering what they value. Therefore, to increase the understanding of prospective customers, the purpose of this thesis was to explore and describe customer value and target groups within the online music market. Data were collected through a survey of Swedish consumers between 16 and 60 years old. Customer-perceived value of downloadable music, in terms of expected value for money, was found to be quite low. Value could, however, be increased by improving the most important benefits. In addition to fundamental functions, such as ease of use and search, a large music catalogue, and good sound quality, flexibility in use is essential. This involves ensuring transferability, compatibility, possibility to duplicate files, and opportunity to sample. The high level of desired flexibility suggests that digital rights management (DRM) restrictions decrease value by making it difficult for consumers to use the product freely. Furthermore, perceived value could be enhanced by decreasing privacy risk, such as concerns about paying with credit card online, and, most importantly, lowering prices. Consumers, on average, thought that a downloadable song should cost 5-6 SEK, i.e. about half of the current price. However, providing better value in terms of the proposed benefits, combined with lower risk, would improve consumers' willingness to pay. The study also found that current potential target customers of online music services are between the ages of 25 and 45, have a higher-than- average interest in music, low concerns about risk, and are experienced users of the Internet and digital music overall. Clearly, use of file- sharing networks and commercial online music services is not mutually exclusive. In fact, P2P users in the study were generally more likely than P2P non-users to be customers of commercial services. Moreover, increased customer value of pay-per-download services is more likely to result in higher usage intentions among consumers with current Internet music download experience. An important challenge for commercial online music services, therefore, is not only to attract more file sharers, but also to retain occasional customers by increasing the perceived value.
Godkänd; 2007; 20071128 (ysko)
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Scheckter, Jonathan. "A holistic approach to consumption analysis in the popular music market." Thesis, Rhodes University, 2006. http://eprints.ru.ac.za/216/.

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Jackson, Nicholas Allen. "The Creation, Performance, and Preservation of Acousmatic Music." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619144438948909.

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Vickers, David. "Handel's performing versions : a study of four music theatre works from the "Second Academy" period." Thesis, n.p, 2007. http://ethos.bl.uk/.

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Olszewski, Carol A. "Experiences of Music Therapy Junior Faculty Members: A Narrative Exploration." Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu156812475885396.

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Tran, Khanh Quang. "The Historical Significance of the Compositions for Clarinet by Nguyen Phuc Linh in Vietnamese Instrumental Music." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752390/.

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The document provides an annotated bibliography of the compositions for clarinet by Dr. Nguyen Phuc Linh, one of Vietnam's foremost contemporary classical musician. Brief biography of Nguyen and his music aesthetic are also included. The dissertation also provides an overview of Vietnamese music and instrumental music.
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Books on the topic "Music - academy of music - music market"

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Leadbeater, Tim. The music market. London: Hodder & Stoughton, 1994.

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Music, politics, and the academy. Berkeley: University of California Press, 1995.

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Cusic, Don. Music in the market. Bowling Green, OH: Bowling Green State University Popular Press, 1996.

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Főiskola, Liszt Ferenc Zeneművészeti. Ferenc Liszt Academy of Music Budapest. Budapest: Liszt Ferenc Zeneművészeti Főiskola, 1989.

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Liszt, Ferenc Zenemüvészeti Föiskola (Budapest Hungary). Ferenc Liszt Academy of Music Budapest. Budapest: Liszt Ferenc Zeneművészeti Főiskola, 1989.

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Quality Assurance Agency for Higher Education. Royal Academy of Music: Institutional audit. Gloucester: Quality Assurance Agency for Higher Education, 2003.

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Music, Quebec Academy of. Constitution of the Quebec Academy of Music. [Quebec?: s.n.], 1985.

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Higher Education Quality Council. Quality Assurance Group. Royal Academy of Music: Quality audit report. London: Higher Education Quality Council, 1997.

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James, Duncan. 2015 songwriter's market. Edited by Writer's Digest Books (Firm). 3rd ed. Cincinnati, Ohio: Writer's Digest Books, 2014.

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2014 songwriter's market. 3rd ed. Cincinnati, OH: Writer's Digest Books, 2014.

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Book chapters on the topic "Music - academy of music - music market"

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Donham, Tammy, Amy Sue Macy, and Clyde Philip Rolston. "Market Segmentation and Consumer Behavior." In Marketing Recorded Music, 35–54. 4th ed. New York: Focal Press, 2022. http://dx.doi.org/10.4324/9781003153511-3.

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Fleming, Simon D. I. "Foreign composers, the subscription market, and the popularity of continental music in eighteenth-century Britain 1." In Music by Subscription, 221–41. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003163558-12.

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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.

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Prud'homme, Gabrielle. "Verdi at the Heart of the Dictatorship." In Music and Democracy, 107–38. Vienna, Austria / Bielefeld, Germany: mdwPress / transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456576-005.

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This chapter examines the political appropriation of Giuseppe Verdi in Fascist Italy through a study of the celebrations commemorating the fortieth anniversary of his death in 1941. More specifically, it provides an analysis of the Verdi Year through the lens of a landmark event held among fascist officials at the Academy of Italy in Rome, the heart of the regime's intellectual power, in June 1940-a few days before Italy's entry to war. By reconstructing the structure and the reception of the event, Gabrielle Prud'homme sheds light on how Mussolini's regime maintained its grip on the commemorations and disseminated a discourse entirely consistent with the fascist political and ideological agenda. By insisting on Verdi's patriotic image, exploiting the nationalist topoi conveyed in his operas, emphasizing his peasant origins, and exalting his Italianness, party intellectuals nurtured a Verdian myth that enhanced the Fascist political and totalitarian project.
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Pitt, Ivan L. "Economics of Radio Blanket License: Format, Region, and Market Size." In Economic Analysis of Music Copyright, 135–48. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6318-5_8.

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Levi, Erik. "Responding to the Market: Music Publishing in the Third Reich." In Music in the Third Reich, 147–65. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-24582-6_6.

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Chandra, Arjun, Kristian Nymoen, Arve Voldsund, Alexander Refsum Jensenius, Kyrre Glette, and Jim Torresen. "Market-Based Control in Interactive Music Environments." In From Sounds to Music and Emotions, 439–58. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6_25.

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Day, Ralph L., and Ellen Day. "Assessing Consumer Preferences for Live Music." In Developments in Marketing Science: Proceedings of the Academy of Marketing Science, 143–47. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-16976-7_35.

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Zubak, Marko. "The Birth of Socialist Disc Jockey: Between Music Guru, DIY Ethos and Market Socialism." In Popular Music in Eastern Europe, 195–214. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59273-6_10.

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Fairchild, Charles. "Of Communities and Constituencies: Radio, the Market and the State." In Music, Radio and the Public Sphere, 77–101. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230390515_4.

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Conference papers on the topic "Music - academy of music - music market"

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Eggington, Tim. "Raising the Status of Music and the Musician at the Academy of Ancient Music in Eighteenth-Century London." In Musik und die Künste in der englischen Frühaufklärung (ca. 1670–1750). Universität Hamburg, Institut für Historische Musikwissenschaft, 2020. http://dx.doi.org/10.25366/2020.116.

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Febirautami, Limisgy Ramadhina, Isti Surjandari, and Enrico Laoh. "Determining Characteristics of Popular Local Songs in Indonesia's Music Market." In 2018 5th International Conference on Information Science and Control Engineering (ICISCE). IEEE, 2018. http://dx.doi.org/10.1109/icisce.2018.00050.

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Lin, Chia-Li. "The market position of digital music services based on novel MCDM approaches." In 2011 3rd International Conference on Computer Research and Development (ICCRD). IEEE, 2011. http://dx.doi.org/10.1109/iccrd.2011.5763866.

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"Got Filk? Lament for Apollo in Modern Sci-Fi Folk Music." In 55th International Astronautical Congress of the International Astronautical Federation, the International Academy of Astronautics, and the International Institute of Space Law. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2004. http://dx.doi.org/10.2514/6.iac-04-iaa.6.16.1.06.

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Piotrowski, Krzysztof T., and Jan Jazownik. "GAME FOR STUDENTS OF THE EDUCATIONAL FACULTY OF THE ACADEMY OF MUSIC IN KRAKOW." In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.1148.

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Bargum, Anders Riddersholm, Devansh Kandpal, Oddur Ingi Kristjansson, Simon Rostami Mosen, Jesper Andersen, and Stefania Serafin. "Virtual Reconstruction of a the Ambisonic Concert Hall of the Royal Danish Academy of Music." In 2021 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2021. http://dx.doi.org/10.1109/vrw52623.2021.00026.

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Zhou, Jingwen, Yushun Fan, and Junqi Zhang. "Generating Knowledge Maps for Songs and Users in Music Market with Probabilistic Topic Model." In 2019 IEEE Fifth International Conference on Big Data Computing Service and Applications (BigDataService). IEEE, 2019. http://dx.doi.org/10.1109/bigdataservice.2019.00018.

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Li, Hanchao, Xiang Fei, Ming Yang, Kuo-Ming Chao, and Chaobo He. "From Music Information Retrieval to Stock Market Analysis: Theoretical Discussion on Feature Extraction Transfer." In 2021 IEEE International Conference on e-Business Engineering (ICEBE). IEEE, 2021. http://dx.doi.org/10.1109/icebe52470.2021.00027.

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Indira, Eddy Supriyatna Marizar, and Maria Florencia. "Implementation of Acoustic Materials in The Auditorium of Daya Indonesia Performing Arts Academy (DIPAA) Music Institute." In The 2nd Tarumanagara International Conference on the Applications of Social Sciences and Humanities (TICASH 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201209.053.

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Kogler, Susanne, Julia Mair, Juliane Oberegger, and Johanna Trummer. "Erich Marckhl – Musikausbildung in der Steiermark nach 1945. Brüche und Kontinuitäten." 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/10.25366/2020.58.

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Nowadays, a detailed examination of the structure and development of music education in Styria after 1945 seems absolutely necessary, considering an overall lack of research on that topic and a predominant thematization of Vienna. The composer, music pedagogue and cultural politician Erich Marckhl played a pivotal role in music education before and after 1945. His network reached far beyond Styria. This article shall illustrate the development and interaction of all institutions connected to music education after 1945.the reorganization of the music school system, the reopening of the State Conservatory and its transformation into the Academy of Music and Performing Arts.
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Reports on the topic "Music - academy of music - music market"

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Hendricks, Ken, and Alan Sorensen. Information Spillovers in the Market for Recorded Music. Cambridge, MA: National Bureau of Economic Research, May 2006. http://dx.doi.org/10.3386/w12263.

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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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Kvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481278.

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Wood or Blood? New scores and new sounds for voice and clarinet Astrid Kvalbein and Gjertrud Pedersen, Norwegian Academy of Music What is this thing called a score, and how do we relate to it as performers, in order to realize a musical work? This is the fundamental question of this exposition. As a duo we have related to scores in a variety of ways over the years: from the traditional reading and interpreting of sheet music of works by distant (some dead) composers, to learning new works in dialogue with living composers and to taking part in the creative processes from the commissioning of a work to its premiere and beyond. This reflective practice has triggered many questions: could the score for instance be conceptualized as a contract, in which some elements are negotiable and others are not? Where two equal parts, the performer(s) and the composer might have qualitatively different assignments on how to realize the music? Finally: might reflecting on such questions influence our interpretative practices? To shed light on these issues, we take as examples three works from our recent repertoire: Ragnhild Berstad’s Vevtråd (Weaving thread, 2010), Jan Martin Smørdal’s The Lesser Nighthawk (2012) and Lene Grenager’s Tre eller blod (Wood or blood, 2005). We will share – attempt to unfold – some of the experiences gained from working with this music, in close collaboration and dialogue with the composers. Observing the processes from a certain temporal distance, we see how our attitudes as a duo has developed over a longer span of time, into a more confident 'we'.
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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, January 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

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What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.
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