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Relevant bibliographies by topics / Music at University

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Academic literature on the topic 'Music at University'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Music at University"

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DOGAN, Merih. "University Students’ Expectations about the Elective Music Course." Eurasian Journal of Educational Research 20, no. 87 (2020): 1–20. http://dx.doi.org/10.14689/ejer.2020.87.9.

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Smyrnova, Tetiana A. "Axiology of Music and Pedagogical Education at the University." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 2076–87. http://dx.doi.org/10.47059/revistageintec.v11i4.2255.

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Herbst, Theo. "Music Technology at Stellenbosch University." Leonardo Music Journal 16 (December 2006): 65. http://dx.doi.org/10.1162/lmj.2006.16.65a.

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Bonde, Lars Ole. "Music Therapy in Aalborg University." Norsk Tidsskrift for Musikkterapi 8, no. 1 (1999): 3–5. http://dx.doi.org/10.1080/08098139909477949.

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De Ritis, Anthony. "Music Technology at Northeastern University." Journal of the Acoustical Society of America 110, no. 5 (2001): 2625. http://dx.doi.org/10.1121/1.4776858.

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Yang, Xuenan. "How to Promote National Music Culture in University Music Education." Advances in Higher Education 3, no. 3 (2019): 133. http://dx.doi.org/10.18686/ahe.v3i3.1484.

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<p>Music is closely related to culture. It is an important carrier of human culture inheritance and carries the essence of human civilization. Our national culture is extensive and profound, which is the treasure of Chinese culture. National music culture is an integral part of national culture. Education and cultural inheritance bring out the best in each other. Music education in school is an important means to promote national music culture. Music college is the main position of national music culture, so this paper focuses on discussing the significance and role of promoting national music culture in university music education and puts forward specific implementation methods and means.</p>

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Mackinlay, Elizabeth, and Peter Dunbar-Hall. "Historical and Dialectical Perspectives on the Teaching of Aboriginal and Torres Strait Islander Musics in the Australian Education System." Australian Journal of Indigenous Education 32 (2003): 29–40. http://dx.doi.org/10.1017/s132601110000380x.

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AbstractIndigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait Islander musics as types of Australian music, as ethnomusicological objects, as examples of postcolonial discourse, and as empowerment for Indigenous students. The site of discussion is the work of the Australian Society for Music Education, as representative of trends in Australian school-based music education, and the Centre for Aboriginal Studies in Music at the University of Adelaide, as an example of a tertiary music program for Indigenous students.

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Taylor-Jay, Claire. "The Third Biennial International Conference on Twentieth-Century Music, University of Nottingham, 26–29 June 2003." Twentieth-Century Music 1, no. 1 (2004): 147–51. http://dx.doi.org/10.1017/s1478572204000106.

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The great stylistic diversity of the music written during the twentieth century (and beyond) would seem to make the organization of any conference devoted to it a formidable task: can one really hope to cover a representative selection? While a decade ago such an event might well have covered only art music (a disparate enough field in itself), nowadays one would expect to see some attention given to jazz, popular music, and film. The organizers of the Third Biennial International Conference on Twentieth-Century Music at the University of Nottingham made a conscious attempt at inclusivity, selecting papers that might have been better put together under the title of ‘Twentieth-Century Musics’. The diversity of music represented by the papers was reflected in the plurality of approaches and methodologies. Indeed, one central feature of the conference was its concern not only with musical works, or with twentieth-century composers, but with musical practices. Alongside the statutory selection of more or less canonical art composers and their music, there were several sessions on popular music, jazz, and perspectives from ethnomusicology.

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Rinkūnaitė, Aušra. "Music Publications of the Beginning of 16th– 19th Centuries in Vilnius University Library." Bibliotheca Lituana 3 (December 22, 2014): 138–51. http://dx.doi.org/10.15388/bibllita.2014.3.15566.

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The article deals with music publications of the beginning of the 16th–19th c. – antiphonals, graduals, missals, hymnals and manuals held in the Rare Book Department of Vilnius University Library. On the basis of the extant XVIII c. manuscript catalogues of Vilnius Jesuit College Library and Library of Novitiate the publications related to music included in those catalogues are being discussed and provenances and marginalia found in them are being investigated. In addition, the article also describes anonymous manuals printed by Vilnius Academy Printing House at the end of 17th c.–18th c.: Ars et praxis musica (the first edition in 1667), Compendium regularum generalium cantus (1753) as well as canticle books in Polish and Latin languages. The second part of the article presents music activities of German composer Johann David Holland (1746–1827) who gave music lectures in Vilnius Imperial University at the beginning of the 19th c. The heritage of the Professor – nine music books – donated after his death in 1828 by his daughter Joanna to the Library of Vilnius Imperial University. The third part of the article deals with publications of church and secular music, published at the end of 16th c.–18th c., part of them – especially rare and valuable, and the diverse history of coming of these books to the Library which witnesses of their complicate and intricate journey through different institutions.

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Lamont, Alexandra. "University students’ strong experiences of music." Musicae Scientiae 15, no. 2 (2011): 229–49. http://dx.doi.org/10.1177/1029864911403368.

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Research has begun to explore the nature of strong experiences of music listening, identifying a number of individual components from physiological through to psychological ( Gabrielsson & Lindström Wik, 2003 ), but this has not yet been considered in relation to mainstream theories of happiness. Drawing on positive psychology, Seligman’s (2002) framework for achieving balanced wellbeing includes the components of pleasure, engagement, and meaning. In the current study, 46 university students (median age 21) gave free reports of their strongest, most intense experiences of music listening. Accounts were analysed thematically using an idiographic approach, exploring the relevance of Seligman’s framework. Most strong experiences were positive, and occurred at live events with others. A wide range of mainly familiar music was associated with reported strong experiences, from classical through jazz and folk to old and new pop music, and experiences lasted for varying time periods from seconds to hours. Unexpected musical or non-musical events were sometimes associated with strong experiences. None of the accounts could be characterized by a single route to happiness: in addition to hedonism, engagement and meaning (particularly in terms of identity) were present in every description, and the findings thus emphasize the power of music to evoke a state of authentic happiness. The importance of taking account of the music, the listener, and the situation in order to fully understand these experiences is underlined.

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Dissertations / Theses on the topic "Music at University"

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Hill, Laura Kerr Hill. "University Music Unit-Sponsored, Non-Music Major Orchestras in the United States." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149936290595039.

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Adams, Leslie Elizabeth. "Music despite everything." Master's thesis, Mississippi State : Mississippi State University, 2008. http://library.msstate.edu/etd/show.asp?etd=etd-04042008-131845.

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Polydorou, Nikoletta. "Exploring approaches to teaching music history at university." Thesis, University of Roehampton, 2015. https://pure.roehampton.ac.uk/portal/en/studentthesis/exploring-approaches-to-teaching-music-history-at-university(0a7d95fa-5623-421d-a890-b2fd16bce397).html.

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Music history is a core requirement for most undergraduate music degrees. The purpose of this study is to investigate the status of music history teaching in music degrees in Higher Education (HE) in four different countries (Cyprus, the Czech Republic, Greece and England). It also aims to evaluate a new music history teaching model that was developed for a university in Cyprus. The new model consists of approaches focused on a student-centred learning method that introduces the use of primary sources and cooperative learning. Three studies were conducted: a qualitative study (Study 1), a mixed methods study (Study 2) and a qualitative evaluation study (Study 3). In Study 1, music history teachers (N=6) were recruited from universities in Cyprus. Study 1 employed Interpretative Phenomenological Analysis (IPA) using the data from semi-structured interviews. In Study 2, music history teachers (N=11) were recruited from the Czech Republic, Greece and England to participate in a qualitative study, and their thinking was compared to a further sample of undergraduate music students (N=86) who were recruited from the Czech Republic, Greece and England. Study 3 designed and tested an intervention in Cyprus evaluating a new approach to teaching music history. The study was evaluated through a pre-test and a post-test questionnaire. Engeström’s culturalhistorical activity theory was used to analyse the findings of all three studies. Results revealed that the most frequent teaching approaches used in music history courses are lectures, the use of audio and audiovisual materials and discussion. While teachers from the Czech Republic, Greece and Cyprus use a teacher-centred learning approach, most teachers from England apply student-centred learning approaches to music history courses. Students from the participating countries generally perceive music history as having relatively little value and they are not satisfied with the existing teaching approaches. A number of them further question traditional approaches to teaching music history. Upon completion of the qualitative evaluation study in Cyprus, students gained a more positive opinion of music history and approved of the new teaching approaches that were used.

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Perold, Maretha. "Music2 - extension and conversion of the Department of Music of the University of Pretoria." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/30201.

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The upgrading of facilities for the Music Department of the University of Pretoria has long been overdue. The Department is constantly growing in terms of enrolment numbers and academic expertise, however, the facilities for the Department are limited and obsolete. This dissertation will thus explore the possibilities of extending and converting the existing Music Department's facilities in an effort to provide sufficient venues for performances and tuition, as well as portray the Department's contemporary image and dynamics through its new facilities on Campus in an effort to revitalise the music precinct and provide more exposeure to a public audience for the Department. Copyright<br>Dissertation (MArch(Prof))--University of Pretoria, 2010.<br>Architecture<br>unrestricted

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LeFils, Gregory William Jr. "History of the Stetson University Concert Choir." Thesis, The Florida State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3638022.

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<p> The Concert Choir has been the flagship choral ensemble of Stetson University, a private, liberal arts university in DeLand, Florida, since 1935. The choir has traveled extensively throughout the southeast United States and twice abroad, serving as ambassadors for Stetson University. This study documents Stetson University's early history, the first few decades of choral activity at Stetson University, and the complete history of the Concert Choir through the tenure of Milburn Price. The study explores 1) the individuals, events, and institutions leading to the formation of the Concert Choir, 2) the philosophy and purpose of the Concert Choir, 3) the individuals, events and institutions that have shaped that philosophy and purpose, and 4) the ways in which the Spring Concert repertoire of the Concert Choir reflects the ensemble's philosophy and purpose. </p><p> The three major conductors of the Concert Choir, occupying 71 of the last 77 years, were Harold Giffin (1935-1972), Robert Rich (1972-1989), and Duncan Couch (1989-2006). Giffin was responsible for combining the separate glee clubs into one performing ensemble, performing Handel's <i> Messiah</i> annually for twenty-five years, and instituting an extensive touring schedule throughout the United States. The performances at the National Federation of Music Clubs (1939), New York City's Lincoln Center (1967), and the recording session that was broadcast coast-to-coast with NBC in Chicago (1953) were three of Giffin's tours that were most significant. Rich was the first alumnus of the Concert Choir to be hired as Director of Choral Activities and conducted the ensemble for their first ACDA convention performance in 1974. During his tenure, the High School Choral Clinic and Christmas Candlelight Concert, modeled after the English Lessons and Carols, were started and have continued annually throughout the scope of this study. Couch grew the popularity of both the clinic and the Candlelight Concert, took the Concert Choir on two European concert tours, and cultivated collaborations with many professional orchestras. </p><p> This study concludes that the Concert Choir is a choral organization influenced by the sacred a cappella choral traditions; however, it was not dominated by it. This study further identifies that the development of the annual Christmas Candlelight Concert and spring tour were foundational for the choir's activities each year. Documentation illustrates each director's willingness to accept this heritage and develop the Concert Choir accordingly throughout its history.</p>

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Carfoot, Gavin Steven. "Deleuze and music : a creative approach to the study of music /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18365.pdf.

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Gerber, Casey Lynn. "Ear training and music reading methods used by Philip C. Hayden : music literacy through rhythm forms /." Full text available from ProQuest UM Digital Dissertations, 2008. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1850417161&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1279215869&clientId=22256.

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Thesis (Ph.D.)--University of Mississippi, 2008.<br>Typescript. Vita. "May 2008." Major professor: Alan L. Spurgeon Includes bibliographical references (leaves102-113). Also available online via ProQuest to authorized users.

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West, Susan, and susan west@anu edu au. "A new paradigm in music education : the Music Education Program at The Australian National University." The Australian National University. Centre for Educational Development and Academic Methods, 2007. http://thesis.anu.edu.au./public/adt-ANU20090816.132910.

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This thesis describes a qualitative action research process undertaken in the field over approximately eight years of the development of an alternative paradigm for music education. This new paradigm evolved from a simple, practical approach that was not, in the first instance, designed to be transformational, but which quickly showed itself to have potential for providing a different model for conceptualising musical engagement. ¶ It is argued that the standard and widely accepted approach to music education has aspects that does not encourage on-going music making. This study conceptualises that traditional Western approach in terms of a virtuosic mountain that prioritises and rewards technical achievement. The concept of the virtuosic mountain is developed in terms of three Ps: Perfection, Practice and Performance. The concept was developed by not just reviewing current literature but also by analysing that literature in light of the developing new paradigm as a means of comparing and contrasting the approaches. ¶ Called The Music Education Program, this new paradigm is based on a practical approach to the sharing of music making beyond institutional boundaries like the school gate. Children do not perform in the community but seek to engage others in making music with them without reference to age, disability or skill level. The focus is on the social outcomes that derive from music making rather than the improvement of skills, which develop as a natural part of community engagement. In this respect, the approach has roots in community enculturation processes that are no longer prominent in Western society. ¶ The new paradigm is presented with a contrasting set of three Is: Intent, Identity and Involvement, which are designed to illustrate how the community outreach of the Music Education Program provides a model for consciously reconceptualising our approach to music education through re-visiting what might be regarded as old practices in a new guise. The three Is are illustrated through a series of critical incidents that highlight the necessary change in theoretical underpinnings that the practical application of the Program demands. This includes a particular focus on the Intent behind our music making, rather than the quality in terms of technomusical outcomes; stress on the individual and group choices that develop musical Identity; and demonstration of the ways in which this paradigm may contribute to voluntary, rather than enforced, Involvement. ¶ The critical incident data is supplemented by some survey and evaluation data which supports the view that the social component of musical engagement provides an alternate focus to musical development than does an achievement paradigm. The range of data collected shows that classroom teachers can take a significant role in the encouragement of music making in the primary school without relying solely on the expertise of those with specific musical training; and that overcoming negative attitudes and experiences can transform not only the teachers relationship with music but produce a positive effect on her students. ¶ The model described here has evolved through a longitudinal process that constantly maintains the centrality of the practical operation of the program. In so doing, it moves away from theoretical constructs that often do not seem to relate directly to practitioners but, at the same time, it avoids prescriptive methodology. Theory is elucidated through practice in a way that encourages teachers to develop their own practices that are consistent with underlying principles. This model is transformative in nature, having first a transformative effect on the principal researcher and thence on those teachers engaging in professional development with the Program. ¶ Since the Music Education Program does not yet have students who have exited the school system, this study does not attempt to claim success in the long-term in terms of promoting ongoing engagement through life. Data suggest, however, that it has had an impact in encouraging teachers to reconnect with music making and enables them to share that music making with their students, thereby helping to develop more school-based musical engagement that is also affecting the broader community in the Australian Capital Territory.

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Branscome, Eric E. "Music Career Opportunities and Career Compatibility: Interviews with University Music Faculty Members and Professional Musicians." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28398/.

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This study used a semistructured interview schedule to identify the music career opportunities available to students who graduate with an undergraduate music degree, and the skills, interests, work values, and personal characteristics that may determine a person's suitability for these music careers. Six university faculty members from each of the 11 NASM-accredited undergraduate music degree fields participated in the study (n = 66). Fourteen professional musicians who were recommended by these faculty members also participated in the study. Concerning the musical and non-musical skills that may determine a person's suitability for a music career, participants consistently noted the importance of performance skills in their respective fields. Participants also consistently cited people skills, and noted that most musicians interact with people on a daily basis, and use people skills to build social networks that may lead to employment. When asked about the interests that may lead someone to a music career, participants commonly cited the importance of good high school ensemble experiences in students' music career decisions. Concerning the rewarding aspects of music careers, many participants noted that they were more rewarded by the ability to support themselves doing what they loved, than by fame or wealth. Concerning the personal characteristics that may determine music career compatibility, participants noted that tenacity is essential to contend with intense competition, extended periods of unemployment, and other common struggles of professional musicians. When asked about music career opportunities in their respective fields, participants reported numerous music careers, some of which were excluded from previous music career inventories. In addition, participants noted that there may be careers for non-musicians in some music career fields. Participants also noted that some music careers may be listed in more than one music career field, creating potential confusion for music career advisors. Finally, participants noted transitions in many music careers that may change the professional expectations of these careers.

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Langager, Graeme Michael Allyn. "Of Text and Tune: The Relationship Between Words and Music in the Choral Music of Gerald Finzi." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1155575211.

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Books on the topic "Music at University"

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HIGHER EDUCATION FUNDING COUNCIL FOR ENGLAND. University of Manchester: Music. HEFCE, 1995.

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Higher Education Funding Council for England. Quality Assessment Division. University of Ulster: Music. HEFCE, 1995.

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Music at KU: A history of the University of Kansas Music Department. University of Kansas, Dept. of Music and Dance, 1986.

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Oxford Brookes University. School of Art, Publishing and Music. Music single field: Students' guide. Oxford Brookes University, 1997.

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Oxford Brookes University. School of Art, Publishing and Music. Music double field: Students' guide. Oxford Brookes University, 1997.

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Beckwith, John. Music at Toronto: A personal account. Printed by University of Toronto Press : distributed by Institute for Canadian Music, Faculty of Music, University of Toronto, 1995.

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Rice, Sederick C. Must be the music. Morris Publishing, 1999.

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Shaw, Sarah J. Rhode Island sheet music index. Brown University Library, 1991.

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Hochschule für Musik und Darstellende Kunst in Wien. University of Music and Dramatic Arts in Vienna. Hochschule, 1995.

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Forbes, Elliot. A history of music at Harvard to 1972. Dept. of Music, Harvard University, 1988.

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Book chapters on the topic "Music at University"

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Blom, Diana, and Raymond Strickland. "Reassessing what we call music." In Teaching and Evaluating Music Performance at University. Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-2.

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Mitchell, Annie. "Implementing group teaching in music performance." In Teaching and Evaluating Music Performance at University. Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-8.

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Cusic, Don, and Beverly Schneller. "The Business in Music at Belmont University." In Exploring, Experiencing, and Envisioning Integration in US Arts Education. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71051-8_8.

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Encarnacao, John, and Diana Blom. "Teaching and evaluating music performance at university." In Teaching and Evaluating Music Performance at University. Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-1.

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Carruthers, Glen. "Provocations for change in higher music education." In Teaching and Evaluating Music Performance at University. Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-17.

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Encarnacao, John, Brendan Smyly, and Monica Brooks. "Free improvisation." In Teaching and Evaluating Music Performance at University. Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-10.

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Stevenson, Ian. "Performativity and interactivity." In Teaching and Evaluating Music Performance at University. Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-11.

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Stevenson, Ian, John Encarnacao, and Eleanor McPhee. "Expanded practice." In Teaching and Evaluating Music Performance at University. Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-12.

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Latukefu, Lotte, and Irina Verenikina. "Play as a medium for active learning in vocal education at university." In Teaching and Evaluating Music Performance at University. Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-13.

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Stevenson, Ian. "Disciplinary perspectives on music performance through the lens of assessment criteria." In Teaching and Evaluating Music Performance at University. Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-14.

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Conference papers on the topic "Music at University"

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Dunn, Jon W., and Eric J. Isaacson. "Indiana university digital music library project." In the first ACM/IEEE-CS joint conference. ACM Press, 2001. http://dx.doi.org/10.1145/379437.379774.

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Xu, Yi-Jing, Zhe Zhang, and Jian-Hua Zhang. "University General Education and Music Appreciation." In 2014 International Conference on Management Science and Management Innovation (MSMI 2014). Atlantis Press, 2014. http://dx.doi.org/10.2991/msmi-14.2014.46.

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Daliņa, Dace, and Vēsma Ozoliņa. "Problems of Group Management in Preschool Music Lessons and Possible Solutions." In 78th International Scientific Conference of University of Latvia. University of Latvia, 2020. http://dx.doi.org/10.22364/htqe.2020.15.

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The research was implemented within the framework of the University of Latvia master’s study program “Pedagogy” course “Effective classroom management”. During the action research, the researchers identified group management problems in music lessons at educational institution X, in group Y. Key problem identified was the insufficient attention of children at the beginning of the lesson. The research proceeded to also look for possible solutions. The aim is to analyse current methods of delivering effective music classes in a pre-school setting, and propose and validate new strategies to improve the beginning of a music lesson. The study involved 17 preschool children (11 boys and 6 girls), a music teacher, and two group teachers, and an observer. The study was conducted from October 2019 to March 2020. The first results of the action research show that as the teacher changed her classroom activities, introduced certain group management techniques, such as signalling and acoustic counting, and repeating these as a routine activity in each lesson, children’s attention improved significantly at the beginning of the music lesson and became more sustained.

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Stramkale, Ligita, and Laila Timermane. "Primary School Students’ Self-Regulated Learning Skills in Music Lessons." In 78th International Scientific Conference of University of Latvia. University of Latvia, 2020. http://dx.doi.org/10.22364/htqe.2020.12.

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The topicality of the study was determined by the increasing role of self-regulated learning (hereinafter SRL) in primary education. The aim of the study is to compare the teacher’s assessment with the students’ self-assessment, to identify whether there are differences in awareness of the required level of SRL skills in music learning. Previous researches on SRL have been analysed, and an empirical study involving 86 (N=86) 4th- grade students of primary school has been conducted to achieve the aim of the study. To determine the level of primary school students’ SRL skills in music learning, the SRL skills of each student during music lessons were observed by the music teacher and were recorded in the observation protocol according to four criteria: motivation, setting learning outcomes, monitoring of learning and outcomes assessment. The questionnaire provided an opportunity to reveal the self-assessment of each student’s SRL skills and compare them with the results obtained by pedagogical observation. The study found that there is no difference between the teacher’s assessment and students’ self-assessment. Both teacher and students believe that the students’ skill of setting learning outcomes in a music lesson is at a low level, while the skills of monitoring their learning and assessing the outcomes are at a medium level. The study concluded that primary school students understand their SRL skills level, which is a prerequisite of monitoring learning and outcomes assessment strategies for joint learning.

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Serrano, Rosa María, and Oscar Casanova. "FLIPPED LEARNING IN MUSIC EDUCATION AT UNIVERSITY." In International Conference on Education and New Learning Technologies. IATED, 2017. http://dx.doi.org/10.21125/edulearn.2017.2216.

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Huang, Jia. "Music Cognition in General Education at University." In Proceedings of the 2019 4th International Conference on Modern Management, Education Technology and Social Science (MMETSS 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/mmetss-19.2019.69.

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Tan, ZhuWen. "Music Teaching Model Based on Network at University." In 2010 International Conference on Multimedia Technology (ICMT). IEEE, 2010. http://dx.doi.org/10.1109/icmult.2010.5629794.

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Zhangfengfeng. "Multimedia application's positive analysis on university music education." In 2012 First National Conference for Engineering Sciences (FNCES). IEEE, 2012. http://dx.doi.org/10.1109/nces.2012.6543869.

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Hernandez-Lopez, Montserrat, Francisco Javier Martín-Alvarez, and Javier Mendoza-Jimenez. "MUSIC AND DYNAMICS: DIFFERENT UNIVERSITY ENVIRONMENTS, SIMILAR RESULTS." In International Conference on Education and New Learning Technologies. IATED, 2017. http://dx.doi.org/10.21125/edulearn.2017.0884.

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Raimi, Sunaj. "Metaphysical dialogue between philosophy and music in ancient Greek." In University for Business and Technology International Conference. University for Business and Technology, 2015. http://dx.doi.org/10.33107/ubt-ic.2015.4.

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Reports on the topic "Music at University"

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

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Irminger, Bente. A growing interest in creativity is opening up new roles for the designer- but also creating a need for clarification of these roles. Universitetet i Bergen KMD, 2018. http://dx.doi.org/10.22501/kmd-ar.1090256.

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Bente Irminger, ‘A growing interest in creativity is opening up new roles for the designer- but also creating a need for clarification of these roles‘, Faculty of Fine Art, Music and Design, University of Bergen

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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, 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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Miller, Cody. Fabrication of Monolithic U-10Mo Fuel Foils for the Technical University of Munic. Office of Scientific and Technical Information (OSTI), 2021. http://dx.doi.org/10.2172/1811887.

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