Relevant bibliographies by topics / Music Modernism (Music) Music Music

Contents

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

Academic literature on the topic 'Music Modernism (Music) Music Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Music Modernism (Music) Music Music"

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Loos, Helmut. "World Music or Regionality? A Fundamental Question for Music Historiography." English version, no. 10 (October 22, 2018): 13–22. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.13.

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The term “world music” is still relatively new. It came into use around the end of the twentieth century and denotes a new musical genre, one which links European-American pop music to folk and non-European music cultures. It can be seen in a larger context as a phenomenon of postmodernism in that the challenge to the strict laws and boundaries of modernism allowed for a connection between regionality and global meaning to be established. Music in the German-speaking world had previously been strictly divided into the categories of “entertainment music” (U-Musik) and “serious music” (E-Musik), the latter functioning as art-religion in the framework of modernism and thus adhering to its principles. Once these principles of modernism became more uncertain, this rigorous divide began to dissolve. For example, the “serious music” broadcast consisting of classical music, previously a staple of public radio, gradually disappeared as an institution from radio programming. A colourful mixture of various low-key, popular music was combined with shorter classical pieces, so that the phenomenon known as “crossover”, a familiar term in popular music since the middle of the twentieth century, then spread to the realm of classical music. This situation differs fundamentally from the circumstances that once dominated the public consciousness from the nineteenth century well into the twentieth century and that indeed remain influential in certain parts of the population to this day. Historical-critical musicology must adapt to this transformed state of consciousness. Doing so will allow for a number of promising perspectives to unfold.
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NIEBUR, LOUIS. "‘There is Music in It, But It is Not Music’: A Reception History ofMusique Concrètein Britain." Twentieth-Century Music 15, no. 2 (June 2018): 211–30. http://dx.doi.org/10.1017/s1478572217000299.

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AbstractThe traditional narrative of the development ofmusique concrèteandelektronische Musiktells a story of esoteric, academic branches of musical modernism emerging out of Paris and Cologne in the 1950s. But this narrative clouds our understanding of the unique ways this music developed in Britain, largely filtered through the BBC, as a relatively populist, accessible iteration of Continental techniques. This article explores how British reactions to contemporary music and, in particular,musique concrèteandelektronische Musik, reflected on the one hand continued suspicion towards Continental music and on the other a deep insecurity about Britain's musical position in the world. The predominantly hostile attitude towards electronic music from within establishment musical cultures betray profound concerns about trends that were seen to exert a harmful influence on British musical society.
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Manuel, Peter. "Music as symbol, music as simulacrum: postmodern, pre-modern, and modern aesthetics in subcultural popular musics." Popular Music 14, no. 2 (May 1995): 227–39. http://dx.doi.org/10.1017/s0261143000007455.

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Postmodern aesthetics has come to be recognised as a salient feature of much popular culture, including music. Urban subcultures, and especially migrant subcultures, may have inherent inclinations toward postmodern aesthetics, while at the same time retaining ties to modern and even pre-modern cultural discourses. The syncretic popular musics created by such subcultures may reflect these multiple cultural orientations by combining postmodern and more traditional characteristics. Thus, for example, punk rock and rap music can be seen to combine postmodern techniques of pastiche, bricolage and blank irony with modernist socio-political protest. Similar eclecticisms can also be found in the musics of some urban migrant subcultures, whose syncretic musics, like their senses of social identity, often self-consciously juxtapose or combine ancestral homeland traditions with the most contemporary cosmopolitan styles and attitudes. Interpretations of such musics may call for a particularly nuanced appreciation of the distinct aesthetic modes which may coexist in the same work.
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Graham, T. A. "Modernism and Popular Music." Genre 46, no. 3 (September 1, 2013): 449–51. http://dx.doi.org/10.1215/00166928-2345587.

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Ballantine, Christopher. "Modernism and Popular Music." Journal of the Royal Musical Association 139, no. 1 (2014): 200–204. http://dx.doi.org/10.1017/s0269040300013384.

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Begam, Richard. "Modernism as Degeneracy: Schoenberg's Moses und Aron." Modernist Cultures 3, no. 1 (October 2007): 33–56. http://dx.doi.org/10.3366/e204110220900032x.

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Richard Begam's essay considers Arnold Schoenberg's “Moses und Aron” (1932) as an extended response to the National Socialist discourse on ‘entartete Musik’ or ‘degenerate music.’ For Begam, Schoenberg asserts that moral degeneracy results not from the rejection of mimesis but precisely from its opposite: the fetishistic and idolatrous worship of the image.
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von Ammon, Frieder. "nr="68"Konkurrenten in musicis. : Thomas Mann, Arthur Schnitzler und Robert Musil im Wettstreit um die ,,heilige Kunst“." Zeitschrift für Germanistik 31, no. 2 (January 1, 2021): 68–82. http://dx.doi.org/10.3726/92169_68.

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Abstract Der Beitrag geht der Frage nach, wie die Intensität der musikliterarischen Intermedialität in der deutschsprachigen Erzählliteratur der Moderne erklärt werden kann. Eine zentrale Rolle spielen dabei die Musikbezüge und insbesondere die Musikbeschreibungen in den Texten Thomas Manns, mit denen sich andere Autoren in der Folge auseinanderzusetzen hatten. Dabei ist eine produktive Konkurrenzsituation entstanden, die im Beitrag anhand von Texten Manns, Schnitzlers und Musils untersucht wird.The present contribution asks how the intensity of musico-literary intermediality in narrative texts of German modernism can be explained. Crucial are the references to and descriptions of music in the texts of Thomas Mann which other authors had to face. The result was a specific competitive situation with productive potential. It is examined on the basis of texts by Mann, Schnitzler, and Musil.
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Milin, Melita. "The stages of modernism in Serbian music." Muzikologija, no. 6 (2006): 93–116. http://dx.doi.org/10.2298/muz0606093m.

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In order to consider this topic, it was first necessary to discuss certain problems of terminology and periodisation relating to musical modernism in general. It is already familiar the extent to which the terms "new music", "modernist", "contemporary" and "avant-garde" music have been used interchangeably, as synonyms. For this reason, it was first important to outline the period of musical modernism as almost generally accepted, which is regarded as an epoch comprising three different periods: (I) period of early modernism (1890?1918), announced by a break with later romanticism and a turn towards French Impressionism, Austro-German Expressionism and Russian "folkloric Expressionism"; (II) period of "classical modernism"(1919?1945) that witnessed a diffusion of neo-classicism and serialism; (III) period of "high modernism" (1946?1972) characterized by highly experimental compositional techniques such as integral serialism and aleatoricism. In relation to this, avant-garde movements are seen as radically innovative and subversive tendencies within this modernist epoch, and while certain postmodernist ideas can be recognized as early as the 1950s, postmodernism as a movement hadn?t gained its full potency until the 1970s. Since then, it has assumed different forms of existence as well as having assimilated a continued form of ?modernist project?. The second part of the article proposes a periodisation of Serbian musical modernism, which is divided into four stages. The first stage (1908?1945) was a period where elements of Impressionism and German expressionism were creatively introduced into the works of several leading composers (Petar Konjovic, Stevan Hristic, Miloje Milojevic, Josip Slavenski, Marko Tajcevic). The second stage (1929?1945) was marked by a group of composers who studied in Prague and assimilated certain progressive compositional techniques such as free tonality, atonality dodecaphony, microtonality and athematicism (Mihovil Logar, Predrag Milosevic, Dragutin Colic, Ljubica Maric, Vojislav Vuckovic, Milan Ristic). The third stage (1951?1970) followed immediately after the era of Socialist Realism, which involved the rediscovery of the pre- World War II Western modernism and prepared the ground for contemporary avant-garde developments almost non-existent before 1961 (Milan Ristic, Dusan Radic, Dejan Despic Vladan Radovanovic, Enriko Josif, Stanojlo Rajicic, Vasilije Mokranjac Aleksandar Obradovic, Ljubica Maric, Rajko Maksimovic). The fourth stage (1956?1980) was the period during which the post-World War II avant-garde developments found their home amongst Serbian composers, some of them conceived almost simultaneously with but independent of the current progressive development in the rest of the world (Vladan Radovanovic Aleksandar Obradovic, Petar Ozgijan, Petar Bergamo, Srdjan Hofman, the group Opus 4).
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Ross, Malcolm. "Missing solemnis: reforming music in schools." British Journal of Music Education 15, no. 3 (November 1998): 255–62. http://dx.doi.org/10.1017/s0265051700003934.

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This paper is intended as a sequel to my earlier paper, ‘What's Wrong with School Music? (BJME 1995, 12, 185-201). It carries an account of recent research into the arts in secondary schools which suggests that, despite National Curriculum reforms and innovations, music still lags behind the other arts in the general esteem of students. The paper proposes that the trouble with music in schools is that it has failed to modernise, that is, that it has somehow been impervious to the creative developments in classical and popular music. Robert Witkin's Art and Social Structure (1995) provides a theoretical account of modernism. The baleful influence of Hymns Ancient and Modern on generations of music teachers is condemned. Cited by way of contrast are two examples of a fully modem music education discovered at the Dartington International Summer School of Music. These, it is argued, capture the participatory ethos promoted in the Anthony Everitt's recent Gulbenkian publication Joining In.
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Kudiņš, Jānis. "Latvian Music History in the Context of 20th-century Modernism and Postmodernism. Some Specific Issues of Local Historiography." Musicological Annual 54, no. 2 (November 15, 2018): 97–139. http://dx.doi.org/10.4312/mz.54.2.97-139.

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Do the terms “modernism” and “postmodernism” objectively characterize the trends in the music history of the 20th century or are they merely theoretical abstractions? How can they be applied to the music history of specific countries, for example, when analysing a local historical experience? The article will consider these questions primarily to focus on the representation of the modernist and postmodernist aesthetics in the stylistic developments of the 20th-century Latvian music history.
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Dissertations / Theses on the topic "Music Modernism (Music) Music Music"

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Broad, Leah. "Nordic incidental music : between modernity and modernism." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:8a2b5571-4bbc-4bed-9b99-4b66dbd1e12d.

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This thesis argues for the centrality of incidental music in early twentieth-century music history, based on a study of Swedish and Finnish theatre music between 1908 and 1926. The central claims made are firstly, that incidental music is an integral part of music history in this period, supporting a narrative about modernity that does not focus exclusively on "high art" concert music. Second, the Nordic countries were part of a cross-continental discourse concerning modernity that did not revolve solely around, or stem from, central European capital cities such as Vienna or Paris. Third, dramatic literature was fundamental to the development of twentieth-century music in Sweden and Finland. Through an examination of productions with music by Jean Sibelius (Svanehvit, 1908, and Scaramouche, 1924), Wilhelm Stenhammar (As You Like It, 1920), and Ture Rangström (Till Damaskus III, 1926), the thesis demonstrates that the early 1900s in these countries were characterised by stylistic plurality. For the first two decades of the 1900s, when Sibelius composed the majority of his works, multiple modes of expression where referred to as 'modern' with no clear hierarchy between them. By the 1920s, however, 'modernism' was emerging as a term consistently used to refer to atonality and concurrent theatrical styles dominant in central Europe. Rather than adopt these stylistic languages, Stenhammar and Rangström used 'modernism' as a category to define themselves against, presenting themselves as modern but not modernist composers.
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Cross, Jonathan Guy Evrill. "Modernism, analysis and new music : studies in the music of Stravinsky and Birtwistle." Thesis, King's College London (University of London), 1994. https://kclpure.kcl.ac.uk/portal/en/theses/modernism-analysis-and-new-music--studies-in-the-music-of-stravinsky-and-birtwistle(992330bf-9452-4fa5-a4f7-df1c5e13f453).html.

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Born, Georgina Emma Mary. "The ethnography of a computer music research institute : modernism, post modernism, and new technology in contemporary music culture." Thesis, University College London (University of London), 1989. http://discovery.ucl.ac.uk/1349616/.

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The thesis is a socio-cultural study of IRCAM, a large, state-funded computer music research institute in Paris directed by the avant garde composer Pierre Boulez. The approach is primarily ethnographic, supported by broader historical analysis. The aim is to provide a critical portrait of musical modernism and post modernism as expressed by IRCAM and its milieu; and to place this in historical perspective by combining anthropology with cultural history. Theoretically, the thesis examines the contradictory position of the contemporary musical avant garde: established in official cultural spheres, yet lacking wider public appeal and cultural influence. In this context, the central problem is how IRCAM continues to legitimise itself. The thesis opens with a discussion of literature on the critical sociocultural study of music, on the sociology of culture (especially the work of Bourdieu and Williams), and on the avant garde and modernism. Chapters 2 to 4 provide the basic account of the institution, including status distinctions, stratification, and power structures. Three local historical influences on IRCAM are outlined: the American computer music network, the French national context, and Boulez's history and ideas. Chapters 5 to 8 analyse IRCAM's musical, scientific and technological work, examining the gaps between aims and actuality, ideology and practice. The character of IRCAM's dominant, 'dissident' and 'vanguard' projects are explored. The classification systems that structure the institute's internal conflicts and ideological differences are drawn out (Ch. 6). Chapters 7 and 8 focus in on computer music production, and describe the mediations and phenomenology of this and related software research. One composer's visit is detailed, and the social and technological problems inherent in this work are analysed. Chapter 9 provides an analysis of the main historical aesthetic traditions which inform IRCAM culture - modernism and post modernism - and develops an hypothesis of their discursive character and interrelation. This is related back to IRCAM culture, and throws light on the inter- and intra-subjective differentiation of IRCAM intellectuals, which in turn allows an analysis of mechanisms in the social construction of aesthetics and technology at IRCAM. The preceding analyses generate insight into the representation of modernism and post modernism within IRCAM. The Conclusions describe major developments at IRCAM after fieldwork. The legitimation of IRCAM is linked to its institutional and ideological forms: particularly its processes of self-legitimation, resting on the discursive authority of its own internal vanguard, and the universalising character of advanced computer music discourse. Finally, there is consideration of IRCAM's place in long term cultural processes, and of the implications for theorising cultural reproduction and change.
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Ilic, Ljubica. "Music and the modern condition investigating the boundaries /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1464115351&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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McGuinness, John Randolph. "Playing with Debussy's Jeux : music and modernism /." Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659575v.

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Herzfeld, Gregor. "Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik : Charles Ives bis La Monte Young." Stuttgart Steiner, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015759238&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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Deutsch, David Henry. "Music Made Meaningful: Social Reforms and Classical Music in British Literature and Culture from 1870 to 1945." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306156820.

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Dias, Daniele Gugelmo. "São Jorge : espiritualidade e arte na amizade de Schoenberg e Kandinsky." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284283.

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Orientador: Silvio Ferraz Mello Filho
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-10T04:49:13Z (GMT). No. of bitstreams: 1 Dias_DanieleGugelmo_D.pdf: 1941446 bytes, checksum: 1b50a34eba33aa25e24461f8c92d03f5 (MD5) Previous issue date: 2006
Resumo: Resumo: Este trabalho insere-se na área de « Processos Criativos » do Doutorado em Música do Instituto de Artes da Unicamp. Ele compreende dois volumes. O primeiro dedica-se à descrição e análise dos resultados da pesquisa. O segundo apresenta seu experimento prático na forma de 5 composições musicais. Na descrição de nossas experiências musicais começamos por contextualizá-las em nossa interpretação da história musical do século XX. A seguir, organizamos a reflexão sobre nossa criação em dois grandes arcos, que denominamos de força motora e força diretriz. Como principal força motora, apresentamos a amizade e a espiritualidade de Schoenberg e Kandinsky. Como principais forças diretrizes, destacamos os seguintes elementos musicais: atonalismo, aforisma, acaso/improvisação, colagem/citação. O experimento prático apresenta-se na forma de partituras e gravações. São elas : 1) Música para Schoenberg - piano solo, 2) Quadros de uma Improvisação : Ponto, Linha, Superfície - grupo de percussão e suporte eletrônico, 3) São Jorge - grupo de percussão, 4) Poesia sem palavras - piano solo e 5) Pequenos Mundos - suporte eletrônico
Abstract: Abstract: This thesis belongs to the research field "Creative Process" of the Music Department of the Art Institute of the State University of Campinas-Unicamp. It is organized in two volumes: the first volume is dedicated to the description and analysis of the research results; the second one presents the practical experiment in the form of 5 music compositions. We begin the description of our music experiences contextualizing them in our interpretation of the history of the music of the XX century. Then, we organize the reflections on our creation at two basic bows, named motor strength and guiding strength. As main motor strength we present the friendship and the spirituality of Schoenberg and Kandinsky. As main guiding strength we highlight the following music elements: atonalism, aphorism, chance/improvisation, quotation/citation. The practical experiment is presented in the form of sheet music and recorded music: 1) Music for Schoenberg -solo piano; 2) Pictures of an improvisation: Point, Line, Surface - percussion group and electronic support; 3) São Jorge - percussion group; 4) Poem without words - solo piano; and 5) Small Worlds - electronic support
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Doutor em Música
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Dorsch, Juliane Verena. "Nostalgia and modernism in puppet music of the 1920s." Thesis, Royal Holloway, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531310.

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Roberts, Peter Deane. "Aspects of modernism in Russian piano music, 1910-1929." Thesis, Kingston University, 1988. http://eprints.kingston.ac.uk/20519/.

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The purpose of this thesis is to examine some of the techniques employed by Russian composers during the Modernist period from around 1910 to the imposition of State control of the Arts which began in 1929. Because many important musicians left Russia it has been necessary to include the works of some of those who lived abroad. It was decided to approach the subject of Modernism through the medium of piano music, partly to keep the project within manageable bounds and also because composers tended to use the piano for their more experimental works. The thesis offers a more detailed analytical approach to the music than is found in Leonid Sabaneyev's Modern Russian Composers published in 1927, which is the only major work on the period so far to have appeared in the English language. The study has not been restricted to the comparatively narrow limits of set-theory analysis, as has tended to be the case in recent years with articles on Russian music of this period written in the U.S.A. A variety of techniques have been employed with a view to placing this music in its Russian context as well as examining its relationship to developments in the West. The study progresses from detailed aspects of technique towards the consideration of large-scale structures and, so far as possible, from familiar points of style towards the more unfamiliar. It falls broadly into three sections. The first begins with two major figures - Scriabin and Prokofiev - and continues with other lesser-known Russian composers of the period. The second, Chapters 7-10, deals with tonality and the attempts made to find alternatives to tonality as a basis of structure. The third is concerned with constructional methods, both tonal and non-tonal, and concludes with a summing-up and general assessment.
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Books on the topic "Music Modernism (Music) Music Music"

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Musik in der Moderne =: Music and modernism. Wien: Böhlau, 2011.

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Reid, Susan. D.H. Lawrence, Music and Modernism. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04999-7.

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Music and modernism, c. 1849-1950. Newcastle upon Tyne, UK: Cambridge Scholars Pub., 2011.

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Shaw-Miller, Simon. The Last post: Music after modernism. Manchester, UK: Manchester University Press, 1993.

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Davis, Mary E. Classic chic: Music, fashion, and modernism. Berkeley, CA: University of California Press, 2005.

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Classic chic: Music, fashion, and modernism. Berkeley: University of California Press, 2007.

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British music and modernism, 1895-1960. Farnham, Surrey: Ashgate, 2010.

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Vergo, Peter. The music of painting: Music, modernism and the visual arts from the Romantics to John Cage. London: Phaidon, 2012.

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The music of painting: Music, modernism and the visual arts from the Romantics to John Cage. London: Phaidon, 2010.

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Modernism and popular music: Language and music in Gershwin, Porter, Waller, and Holiday. Cambridge: Cambridge University Press, 2011.

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Book chapters on the topic "Music Modernism (Music) Music Music"

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Bucknell, Brad. "Music." In A Companion to Modernist Poetry, 47–57. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch4.

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Gendron, Bernard. "Music." In A Companion to Modernist Literature and Culture, 258–64. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996331.ch28.

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Finocchiaro, Francesco. "Between Film Music and Chamber Music." In Musical Modernism and German Cinema from 1913 to 1933, 195–220. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58262-7_10.

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D. Dowden, Stephen. "Music as Natural Magic." In Modernism and Mimesis, 151–200. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53134-8_4.

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Tibbetts, John C. "From Romanticism Toward Modernism." In Performing Music History, 177–225. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92471-7_7.

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Josipovici, Gabriel. "Words and Music Today." In The Lessons of Modernism, 143–50. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18973-1_8.

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

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Iddon, Martin. "Institutions, artworlds, new music." In The Routledge Research Companion to Modernism in Music, 86–107. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315613291-4.

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Josipovici, Gabriel. "Two Moments in Modern Music-Theatre." In The Lessons of Modernism, 177–94. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18973-1_11.

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Reid, Susan. "Introduction: “Words Writ to the Music”." In D.H. Lawrence, Music and Modernism, 1–22. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04999-7_1.

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Conference papers on the topic "Music Modernism (Music) Music Music"

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

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Deisinger, Marko. "Fortschrittliche Technologie im Dienste eines Antimodernisten. Heinrich Schenker und der österreichische Rundfunk." 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/10.25366/2020.52.

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The Viennese music theoretician Heinrich Schenker opposed modernity during his entire life. At first, this opposition applied to new technologies as well. Despite his skepticism, he purchased a radio shortly after the Austrian Broadcasting Corporation (RAVAG) started broadcasting in October 1924 and soon became an avid radio listener. Schenker quickly grasped the advantages of this new transmission medium and used it to further his own interests, aided by personal contacts with the RAVAG. In 1928, his associate Otto Erich Deutsch delivered a radio lecture co-authored with Schenker about the goals of the “Archive for Photograms of Musical Master Manuscripts” which was founded at Schenker’s instigation. In 1934, the RAVAG sponsored a competition, awarding the best text to a song fragment by Franz Schubert which in turn was discovered by Deutsch. Since the textless fragment lacks the final measures, Schenker had previously composed an ending for the song which was also performed on the radio.
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Bach, Peter Christopher, Natalia Vyrva, and Susanne Koch Stigberg. "Tangible music player: Music collaboration." In 2015 International Conference on Collaboration Technologies and Systems (CTS). IEEE, 2015. http://dx.doi.org/10.1109/cts.2015.7210455.

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Tóth-Bakos, Anita. "MUSIC EDUCATION AND MUSIC THERAPY." In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/inted.2016.0135.

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Rouvoy, Romain, Mikaël Beauvois, Laura Lozano, Jorge Lorenzo, and Frank Eliassen. "MUSIC." In the 1st workshop. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1462689.1462697.

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Hahn, Winfried, and Kristian Fischer. "MuSiC." In the 22nd ACM/IEEE conference. New York, New York, USA: ACM Press, 1985. http://dx.doi.org/10.1145/317825.317882.

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Schwamstecher, Jorg. "Music." In ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.254024.

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Soares Araujo, Carlos Vicente, Marco Antonio Pinheiro de Cristo, and Rafael Giusti. "Predicting Music Popularity Using Music Charts." In 2019 18th IEEE International Conference On Machine Learning And Applications (ICMLA). IEEE, 2019. http://dx.doi.org/10.1109/icmla.2019.00149.

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Hughes, Thad, and Trausti Kristjansson. "Music models for music-speech separation." In ICASSP 2012 - 2012 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2012. http://dx.doi.org/10.1109/icassp.2012.6289022.

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Hou, Yanshuang, and Xinglong Guo. "Music Creation Environment of Music Poetry." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.4.

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Reports on the topic "Music Modernism (Music) Music Music"

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Stahl, Geoff, and Alex Gyde, eds. Popular Music Worlds, Popular Music Histories: Conference Proceedings, Liverpool 2009. International Association for the Study of Popular Music, December 2011. http://dx.doi.org/10.5429/2225-0301/2009.

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Maddocks, Sally C. Music and Combat Motivation. Fort Belvoir, VA: Defense Technical Information Center, April 2015. http://dx.doi.org/10.21236/ada635065.

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Johnston, Mindy. Music and Conflict Resolution: Exploring the Utilization of Music in Community Engagement. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.437.

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Bassalé, Parfait. Music and Conflict Resolution: Can a Music and Story Centered Workshop Enhance Empathy? Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1122.

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Kaplan, Gail. Review ofThe Music of Pythagoras. Washington, DC: The MAA Mathematical Sciences Digital Library, March 2010. http://dx.doi.org/10.4169/loci003480.

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Mehegan, Laura, and G. Chuck Rainville. 2020 Music and Brain Health Survey. Washington, DC: AARP Research, November 2020. http://dx.doi.org/10.26419/res.00387.001.

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Connolly, Marie, and Alan Krueger. Rockonomics: The Economics of Popular Music. Cambridge, MA: National Bureau of Economic Research, April 2005. http://dx.doi.org/10.3386/w11282.

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Saldana, Pablo. Boomers, Millennials, and The Music Experience. Portland State University Library, January 2016. http://dx.doi.org/10.15760/honors.309.

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Arnold, Christopher. Music and Acculturation: Using Culture-focused Music Therapy to Address the Adverse Effects of Acculturative Stress. Portland State University Library, January 2014. http://dx.doi.org/10.15760/honors.83.

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Seybold, Patricia. Amazon Takes on Apple in Digital Music. Boston, MA: Patricia Seybold Group, January 2013. http://dx.doi.org/10.1571/pp01-24-13cc.

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