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Relevant bibliographies by topics / Musica insieme

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Academic literature on the topic 'Musica insieme'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Musica insieme"

1

Di Paoli Paulovich, David. "Musica e canti d’espressione popolare di area latino-veneta in Istria e a Zara. Generi vocali e bibliografia." Histria : the Istrian Historical Society review 2, no. 2 (2012): 173–203. http://dx.doi.org/10.32728/h2012.07.

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Il presente contributo traccia un quadro delle ricerche e degli studi compiuti negli ultimi due secoli sul canto popolare di matrice istro-veneta, diffuso sulla costa adriatica orientale (Istria e Zara), evidenziando i principali studiosi e i maggiori risultati conseguiti. Propone quindi una distinzione dei generi o forme vocali in cui tale repertorio si manifesta (villotte, bassi, bitinade, arie notturne o da nuòto, stornelli, inni corali, canti a contenuto politico, canti dell’esodo, canti religiosi) cogliendo lo stato attuale delle ricerche e degli aspetti esecutivi di tale canto nei vari contesti di riferimento. Degli studi e delle ricerche inerenti al canto popolare istro-veneto si propone, infine, anche una bibliografia aggiornata. La costa adriatica orientale denota una vivacità musicale ricca e diversificata, che, partendo dagli albori aquileiesi tocca profondamente gli aspetti folclorici popolari, riunisce un repertorio dai tratti originali e che, soprattutto, riferendomi agli aspetti musicali sacri (canto patriarchino) e profani (canto popolare), ha consentito il formarsi nei secoli di una sensibilità musicale ad ogni livello, tale da contribuire essa stessa al sentimento d’appartenenza ad una civiltà peculiare ed unica: nelle sue componenti istriana, quarnerina, fiumana e dalmata. Compito, certamente arduo, di una musicologia istriana dovrebbe essere oggi anche quello di trarre in salvo le ultime testimonianze della musica vocale popolare di derivazione istro-veneta e non soltanto quelle di derivazione croata o slovena, essendo tale musica vocale l’anima fondante dell’essenza istriana insieme con le altre anime etno-musicali della nostra penisola.

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Cogliani, Maurizio. "Musica e bellezza. Sinestesia etico-estetica e origine del pensiero creativo." EDUCAZIONE SENTIMENTALE, no. 16 (September 2011): 105–23. http://dx.doi.org/10.3280/eds2011-016008.

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La nota affermazione del principe Miskin nell'Idiota di Dostoevskij («La bellezza salverŕ il mondo»), offre una singolare chiave di lettura che, sulla base di un'interpretazione letterale del testo russo, conduce a invertire i termini della frase: "Il mondo salverŕ la bellezza". Affinché ciň sia possibile, č necessario che il mondo recuperi l'essenza del bello che consiste nella sua gratuitŕ; nell'essere, cioč, irriducibile a ogni definizione, e che pertanto trova un imprescindibile punto di riferimento nellaplotiniana, tradotta col termine "grazia". La grazia, per la sua neutralitŕ, rappresenta lo spazio aperto in cui far interagire la bellezza e il mondo: ciň che rende possibile un'esperienza che č insieme estetica ed etica. Il carattere immediato della grazia puň essere poi riferito sul piano psicoanalitico all'in quanto cognizione intuitiva propria del procedimento inconscio che attiva successivamente il processo consapevole su un piano culturale, linguistico, storico. Recuperando, quindi, nella gratuitŕ della bellezza anche la componente psicoanalitica che dall'inconscio arriva alla consapevolezza di sé, si amplia il significato stesso di bellezza e dell'esperienza estetica, la quale si contrassegna come conoscenza estesico-estetica che consiste primariamente nell'esercizio di una sensibilitŕ in grado di percepire ed elaborare sensazioni tramite l'. All'incrocio tra etica ed estetica si pone l'esperienza musicale. Nella sua sostanziale intraducibilitŕ, la musica č veicolo o "contenitore di risonanza" per le emozioni: il simbolo musicale appare oggettivamente come significante vuoto che mentre vanifica l'orizzonte dei concetti definiti, evoca quello indefinito dell'immaginazione e degli affetti. L'ascolto musicale, dunque, attiva una percezione interiore, una sorta di "insight estetico" (Di Benedetto, 2000) a livello inconscio, di per sé intraducibile in quanto proprio delle forme del pensiero simmetrico (Matte Blanco, 1981), suscettibile, poi, di essere dispiegato attraverso le relazioni asimmetriche proprie del pensiero logico. Č in questa chiave che puň essere interpretato il concetto di "tensione rinviante" (Morelli, 2010): qualitŕ evolutiva tipicamente umana che ci rende capaci di creare quello che ancora non c'č e di innovare l'esistente. Le esperienze estetiche che emergono dalle categorie a cui questa tensione rinvia hanno nella discontinuitŕ e nella creazione dell'inedito un fattore comune che in musica si ritrova a livello sia compositivo che improvvisativo. In conclusione, la musica, evocando e inducendo emozioni, rimanda a una dimensione di senso il cui nucleo č costituito dalla confluenza di sentire e pensare e che, nell'infinita combinazione di simmetrico e asimmetrico, rivela il vero volto della creativitŕ, in un processo che coinvolge anche la conoscenza e l'apprendimento.

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Ho, Wai-chung. "Musical learning: Differences between boys and girls in Hong Kong Chinese co-educational secondary schools." British Journal of Music Education 18, no. 1 (March 2001): 41–54. http://dx.doi.org/10.1017/s0265051701000134.

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This paper presents an overview of boys' and girls' musical learning inside and outside school. This involves a sampling survey of 877 pupils (414 boys and 463 girls) in nine Chinese secondary schools. The paper argues that patterns of gender stereotyping associated with music among Hong Kong students have some similarities with those in the Western world. The impact of gender beliefs was most evident in types of instrumental learning, types of music activities, and listening and singing preferences. The subjects' attitudes towards the promotion of popular and Western classical musics in school emerged as statistically significant, while their attitude towards Chinese classical music was non-significant.

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Wallerstedt, Cecilia, and Monica Lindgren. "Crossing the boundary from music outside to inside of school: Contemporary pedagogical challenges." British Journal of Music Education 33, no. 2 (April 11, 2016): 191–203. http://dx.doi.org/10.1017/s0265051716000164.

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Music education in formal settings has the last decades been characterised by informal methods borrowed from outside school. In this study we analyse situations in Swedish secondary school where pupils’ experience of music outside school becomes visible in music class. Pedagogical challenges in these situations are identified that concern how to (i) coordinate perspectives on music in classrooms when arenas for learning music is increasing in number, (ii) make space for new musical movements in school, and (iii) consider the situated nature of learning that complicates the transfer from musical experiences outside to inside school.

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Fornäs, Johan. "Moving Rock: Youth and pop in late modernity." Popular Music 9, no. 3 (October 1990): 291–306. http://dx.doi.org/10.1017/s0261143000004104.

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What is moving in rock and pop? This question concerns both what levels change in the popular music arena, and how music can initiate changes inside and outside itself. Revolution in popular music can mean radical transformations of music itself, as well as the way in which social and psychic changes express themselves in music. Musical forms can go through revolutionary changes, and musical content can thematise revolutions.

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Fedotova, Tatiana Yurievna, and Iya Dmitrievna Nemirovskaya. "Integrative links in musical-theoretical and musical-historical cycles teaching." Samara Journal of Science 8, no. 3 (August 5, 2019): 329–33. http://dx.doi.org/10.17816/snv201983318.

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This paper deals with actual questions of modernization of musical pedagogical middle level teaching. Specific thinking features of contemporary students are marked, and problems of innovative development of information society are described. Difficulties of secondary professional musical education are shown. System thinking and scientific knowledge integration are pointed out as a basis of new ideological settings formation. Scientific researches in musical pedagogy about integrative links are analyzed. A use of integrative links in teaching musical-theoretical and musical-historical areas is marked as a necessary factor of solid and systematic music language image development. A language of music, as a complex of musical means of expression is named as an integrity factor. A system analysis of every element of music language aimed to discover their inner correlation and semantic role is named as a necessary clause, allowing to form a solid image of musical language and musical art in general. The authors justify a necessity of optimization and intensification of musical-theoretical schooling on the basis of integrative links inside the subjects of musical-theoretical and musical-historical cycles.

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Perrot, Sylvain. "The Apotropaic Function of Music Inside the Sanctuaries of Asklepios." Greek and Roman Musical Studies 4, no. 2 (September 1, 2016): 209–30. http://dx.doi.org/10.1163/22129758-12341276.

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Music obviously played a strong role in ancient Greek ways of healing the human body. However, although scholars have studied some aspects, there still is no comprehensive enquiry on the relationships between music and sounds in Asclepios’ sanctuaries. The purpose of this paper is first to combine all the sources on the soundscape of famous and minor sanctuaries, and secondly to give some new perspectives on the specificity of Asclepian soundscapes. Is there any relationship between environmental sounds, anthropic sounds and cultic music, especially paeans? We may find some clues in the texts related to the cult of Asclepios but also in the archaeological evidence, because some votive offerings have been unearthed, like votive ears and musical instruments. By examining the soundscape of Asclepian sanctuaries, I would like eventually to ask especially whether the link between the musical performances and sounds could be understood as apotropaic.

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Jung, Joo Yeon, Jihae Shin, and Soojin Lee. "The effect of participation in a popular band program on students’ musical and extra-musical outcomes in Korea." International Journal of Music Education 38, no. 3 (April 17, 2020): 370–82. http://dx.doi.org/10.1177/0255761420914668.

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The increased attention to the use of popular music within the classroom is not new. In fact, music educators in many countries have discussed the incorporation of popular music into mainstream music education for decades. South Korea is no exception, and the younger generation has a genuine interest in and sensitivity toward popular music. Yet, South Korea has been slow to incorporate popular music into its mainstream school music curriculum. Recently, the popular band has been gaining its popularity as a new kind of ensemble program inside and outside the school in South Korea. Thus, the purpose of this study was to analyze the effects of a popular band program, the “Little Bob Dylan Band,” on students’ musical and extra-musical outcomes. Thirty-five students participated in the program, and, in this study, both students and their parents completed a survey and were individually interviewed. Results indicated that the program enabled students to have new and deepened musical experiences in their lives. In addition, students were able to develop artistic originality through an integrated curriculum that involved cooperation with peers while creating and playing music together.

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Halliwell, Patrick. "Learning the Koto." Canadian University Music Review, no. 14 (February 22, 2013): 18–48. http://dx.doi.org/10.7202/1014309ar.

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This paper examines traditionally-oriented teaching and learning processes in Japanese koto music. Earlier evaluations (negative and positive) by Western scholars are introduced, together with a brief comparison to Western practices. A distinction is made between "inside" and "outside" students; the former have greater exposure to music and speech about music, and teaching methods also may differ. Traditional methods of learning through imitation are shown to have other musical goals besides the transmission of musical "text." Playing together is fundamental; teachers may use speech, shôga (oral representation of instrumental sound), or purely musical means to convey information to the student. Notation, often used nowadays, is nevertheless of relatively minor importance. The dominant values underlying traditional teaching methods are expressed through the phrase "if you can steal it, that's OK." Finally, concepts of "text" and "interpretation" are considered in relation to values concerning change in traditional koto music.

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Oudendijk, Rob, Yuka Hayashi, Camilo Arevalo, Julián Villegas, Peter Kudry, and Michael Cohen. "“Hyperwiper”: Dancing windshield wipers Synchronizing Windshield Wipers with Sound Entertainment System Inside Vehicles." SHS Web of Conferences 102 (2021): 04011. http://dx.doi.org/10.1051/shsconf/202110204011.

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Instead of adding to the driving cacophony, actively orchestrated windshield wipers can enhance musical audition, reinforcing a beat by augmenting the rhythm, increasing the signal:noise ratio by aligning the cross-modal rhythmic beats and masking the noise, providing “visual music,” the dance of the wipers. We recast the windshield wipers of an automobile with advanced multimedia technology, allowing wipers to dance to music.

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Dissertations / Theses on the topic "Musica insieme"

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Witmer, Mark Daniel. "Inside Out." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395172325.

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Harenda, Timothy M. "Inside the Mirage." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1307110432.

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Gatti, Matthew. "Inside/Outside: Representations of Invisible Illness in The Who's Quadrophenia." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/506758.

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Music Performance
D.M.A.
In The Who’s second rock opera Quadrophenia, a fictitious teenager suffers from a mental illness that gives him four distinct personalities. Its main songwriter, Pete Townshend, uses the disorder and the four personalities as a means to represent the four members of The Who through the teenage protagonist, a young mod named Jimmy. Townshend reveals Jimmy’s disposition at the conclusion of a lament written from Jimmy’s perspective in Quadrophenia’s liner notes, in a harrowing confession: “Schizophrenic? I’m bleeding quadrophenic.” In this monograph, I will examine Quadrophenia for its representations of mental illness through textual, musical, and historical perspectives and how these perspectives provide evidence toward a storyline based around the cultural concept of madness. Mental illness is an invisible illness, for the inflicted does not present noticeable symptoms to others, making it difficult to perceive and accurately diagnose. That is why within popular culture, schizophrenia is oftentimes used interchangeably with multiple personality disorder (now known as dissociative identity disorder), as is the case with Jimmy in Quadrophenia. Although these disorders are not at all similar, both are considered under the broader umbrella of madness, a term which historically was of medical and legal significance but gained political and ideological meanings in our modern society. Quadrophenia was meant as a tribute and celebration of The Who’s beginnings within the mid-60s London mod subculture. The invisible illness aspect of the storyline is worth investigating for its avoidance of treating mental illness within the medical model, in which it is considered to be a deficit of normalcy that is in need of a fix or cure. Though Jimmy struggles with his illness, it is mostly viewed as part of his adolescent character and then further used as a way of musically and textually representing The Who and the musicians’ individual characters. The Who were the epitome of music and madness; their music often spoke in terms of deviance and disobedience, while their live performances were physical and objectionably loud, sometimes concluding with the destruction of instruments. Treating mental illness, as well as physical and developmental impairments, as difference rather than deficit, is a key principle of current disability studies and its cultural model of disability. This is in opposition to the biological model in the medical field. Society has constructed madness as a binary to sanity, and thus a contrast to normalcy. As this binary is still in practice today, society as a whole continues to stigmatize mental illness and forces it to remain invisible. The Who and their embodiment of mental illness in Quadrophenia are meant not merely to arouse sympathy for Jimmy, but also to empower mental illness as a basis of character strength. The following monograph begins with an introduction to music and disability studies regarding mental illness. The next chapter offers a glimpse into the literature on The Who and Quadrophenia, including a survey of a 2013 conference dedicated exclusively to Quadrophenia. Finally, a chapter analyzes representations of mental illness in Quadrophenia within the music, society, and The Who themselves before a brief concluding chapter.
Temple University--Theses

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Leafstedt, Carl Stuart. "Inside Bluebeard's castle : music and drama in Béla Bartók's opera /." New York [u.a.] : Oxford University Press, 1999. http://www.loc.gov/catdir/enhancements/fy0605/98040668-d.html.

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Lovett, Matthew. "Outside on the inside : musical improvisation according to contemporary materialist thought." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23691/.

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One of the precursors to this PhD project was an awareness that a great deal of writing about music aesthetics, the practice of making music and the nature of listening to music, is often either knowingly or unknowingly grounded in a set of philosophical debates that predate (sometimes quite considerably) the music that is being written about. As such, there is a sense in which critical perspectives on improvised music practice, if they are to be relevant, need to take into account more recent developments in philosophical and theoretical thought, and one of the objectives of this study is to meet that challenge by mapping of some of the key aspects of twentieth and twenty-first century thought that have their roots in what could be described as ‘philosophies of immanence’ onto various aspects of improvisation. From the outset, this project is written from a maker’s perspective, and takes the form of a piece of extended research that takes as its starting point the idea that musical improvisation is a form of creative thinking in action. From this position, the process of improvising and an improvised piece of music, to some extent bear the traces of the thought that has given rise to both the music and the improvising itself. By grounding the research in a set of the afore-mentioned ‘philosophies of immanence’, it is therefore my intention to develop new ways of thinking about how improvisation works, new ways to describe what is happening when we hear musicians improvising, and new ways to understand what kinds of changes and innovations are brought to bear on the resources and materials – in other words the musical knowledge, the skills, the instruments, and a wider set of musical contexts and environments – that musicians have at their disposal during an improvisation.

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Morrison, Krystal. "Musicology, Discourse, and the Performer’s Body: Understanding Music from the Inside." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37129.

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Current research in music scholarship appears to be trending towards the “embodied” yet from the vantage point of the performer this progression seems to be lacking a key component of such an embodied discourse: their voice. In this thesis I argue that the oversight of the performing body and its importance to the field of musicology is a result of conceptual dualities that attempt to conceal the body in its role within thought, culture, and meaning. Illustrating this oversight with the gaps in the current academic discourse, I show how many in the field either consider the body only in a metaphorical sense, or see the performer as an object of study. An examination of the contributions of three performer-scholars to this field demonstrates ways in which the gap can be filled, and lack addressed. Their approaches are then combined in an embodied analysis of Messiaen’s “Abîme des Oiseaux” from Quatour pour la Fin du Temps which reveals the potentialities of depth and breadth that can be considered when the performer’s body is permitted to be a site from which a musical analysis might originate. This thesis concludes that the performing body must be reintroduced into musicological discourse with a new understanding of its value, and that this can best be accomplished by addressing the “embodied” within the academic music curriculum, alongside traditional tonal and formal analyses.

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Marrin, Nakra Teresa (Teresa Anne) 1970. "Inside the conductor's jacket : analysis, interpretation and musical synthesis of expressive gesture." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/9165.

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Thesis (Ph.D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2000.
Includes bibliographical references (leaves 154-167).
We present the design and implementation of the Conductor's Jacket, a unique wearable device that measures physiological and gestural signals, together with the Gesture Construction, a musical software system that interprets these signals and applies them expressively in a musical context. Sixteen sensors have been incorporated into the Conductor's Jacket in such a way as to not encumber or interfere with the gestures of a working orchestra conductor. The Conductor's Jacket system gathers up to sixteen data channels reliably at rates of 3 kHz per channel, and also provides mcal-time graphical feedback. Unlike many gesture-sensing systems it not only gathers positional and accelerational data but also senses muscle tension from several locations on each arm. The Conductor's Jacket was used to gather conducting data from six subjects, three professional conductors and three students, during twelve hours of rehearsals and performances. Analyses of the data yielded thirty-five significant features that seem to reflect intuitive and natural gestural tendencies, including context-based hand switching, anticipatory 'flatlining' effects, and correlations between respiration and phrasing. The results indicate that muscle tension and respiration signals reflect several significant and expressive characteristics of a conductor's gestures. From these results we present nine hypotheses about human musical expression, including ideas about efficiency, intentionality, polyphony, signal-to-noise ratios, and musical flow state. Finally, this thesis describes the Gesture Construction, a musical software system that analyzes and performs music in real-time based on the performer's gestures and breathing signals. A bank of software filters extracts several of the features that were found in the conductor study, including beat intensities and the alternation between arms. These features are then used to generate real-time expressive effects by shaping the beats, tempos, articulations, dynamics, and note lengths in a musical score.
by Teresa Marrin Nakra.
Ph.D.

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Edgren, Benjamin Bondesson /. Christian. "Twelvestep : Down inside." Thesis, Blekinge Tekniska Högskola, Sektionen för teknokultur, humaniora och samhällsbyggnad, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1671.

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Title: Music video: Twelvestep – DownInside Made by: Benjamin Bondesson Christian Edgren Tutor: Silvio Ocasic Course admin: Peter Ekdahl Purpose: To create a music video that we can stand, that challenges us in the creative process. And to help a struggling band with another medium to spread their music. Goal:We intend to create a great product that is demanding and educational to us. Especially when it comes to cooperation and editing/post production. Keywords:Music video, digital video, film
Titel: Musikvideo: Twelvestep – Down Inside Skapad av: Benjamin Bondesson Christian Edgren Handledare: Silvio Ocasic Kursansvarig: Peter Ekdahl Syfte: Att skapa en musikvideo vi kan stå för och som kräver mycket av oss i skapande processen. Samt att hjälpa ett kämpande band med att få ett annat medium att sprida sin musik på. Mål: Vi avser att uppnå en snygg och bra produkt, som kräver mycket av oss och som ska lära oss mycket under skapandet. Framförallt vad det gäller samarbete och redigering/efterproduktion. Nyckelord:Musikvideo, digitalvideo, film
Benjamin Bondesson 0704-247 442 Christian Edgren 0704-832 106

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Cole, Dennis E. "WHAT IS A DRUM AND BUGLE CORPS? REINTERPRETING TRADITIONS INSIDE THE MUSICAL COMMUNITY." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1240081983.

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Thesis (Ph.D.)--Kent State University, 2009.
Title from PDF t.p. (viewed Feb. 2, 2010). Advisor: Terry Miller. Keywords: drum and bugle corps, reinterpretation, assimilation, ethnomusicology. Includes bibliographical references (p. 228-255).

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Collins, Nicolas. "Composing inside electronics : published research in the field of experimental music, 1988-2007." Thesis, University of East Anglia, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441563.

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Books on the topic "Musica insieme"

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Florit, Fedra. Il Trio di Trieste: Sessant'anni di musica insieme. Torino: EDT, 1992.

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Benjamin, Boretz, ed. Music inside out: Going too far in musical essays : essays. Amsterdam: G+B Arts International, 2001.

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Stewart, Dave. Inside the music. San Francisco: Miller Freeman Books, 1999.

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Wacholtz, Larry E. Inside country music. New York: Billboard Publications, 1986.

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Julian, Newby, ed. Inside the music business. London: Blueprint, 1995.

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Inside the Music Business. London: Taylor & Francis Inc, 2004.

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Sherman, Bernard D. Inside early music: Conversations with performers. New York: Oxford University Press, 1997.

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Inside out: A musical adventure. Boston: Little, Brown, 1990.

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group), Miss May I. (Musical. Shadows inside. Los Angeles, CA: SharpTone Records, 2017.

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Michael, Fink. Inside the music business: Music in contemporary life. New York: Schirmer Books, 1989.

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Book chapters on the topic "Musica insieme"

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Fallin, Jana R., Mollie Gregory Tower, and Debbie Tannert. "Inside the Music: The Basic Elements of Music." In Using Music to Enhance Student Learning, 36–67. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429504525-5.

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Tanev, George, and Adrijan Božinovski. "Virtual Studio Technology inside Music Production." In ICT Innovations 2013, 231–41. Heidelberg: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-01466-1_22.

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Rodríguez, Russell C. "Politics of Aesthetics: Mariachi Music in the United States." In Inside the Latin@ Experience, 193–209. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106840_11.

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Gentil-Nunes, Pauxy. "Partitiogram, Mnet, Vnet and Tnet: Embedded Abstractions Inside Compositional Games." In Computational Music Science, 111–18. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47337-6_12.

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Street, Seán. "The Music of Where We Are: How Place Shapes Sound." In The Sound inside the Silence, 65–87. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-8449-3_4.

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de Quay, Yago. "Interactive Music 3.0: Empowering People to Participate Musically Inside Nightclubs." In Speech, Sound and Music Processing: Embracing Research in India, 89–97. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31980-8_8.

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Mills, Roger. "Intercultural Tele-Improvisation: Inside the Online Global Jam Session." In Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session, 3–19. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-71039-6_1.

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Ouzounian, Gascia, R. Benjamin Knapp, Eric Lyon, and R. Luke DuBois. "2012: To Be Inside Someone Else’s Dream: Music for Sleeping and Waking Minds." In A NIME Reader, 405–17. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47214-0_26.

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Schwetter, Holger. "Maria Eriksson, Rasmus Fleischer, Anna Johansson, Pelle Snickars, Patrick Vonderau: Spotify Teardown. Inside the Black Box of Streaming Music." In Jahrbuch für Musikwirtschafts- und Musikkulturforschung, 263–66. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-29706-0_17.

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Marin, Reva. "Bob Wilber, the Westchester Kid: White Privilege and Perspectives on Jazz Belonging." In Outside and Inside, 37–58. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829979.003.0002.

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In Bob Wilber’s Music Was Not Enough, the multi-instrumentalist and bandleader offers a detailed account of his experience in New York during the mid-1940s as a student and protégé of the renowned New Orleans musician Sidney Bechet and the effect of that experience on his life and career. While Wilber’s description of his jazz education with Bechet and his subsequent professional career reveals his rich immersion in New Orleans and East Coast traditional and swing jazz communities, the colorblind lens through which he filters these experiences serves to deemphasize, or even negate, the significance of race in them. This chapter contrasts Wilber’s privilege and apparent distance from New Orleans’ jazz culture with Bechet’s insistence on the significance of his Creole identity to the shaping of his musical and cultural persona.

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Conference papers on the topic "Musica insieme"

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Weinberger, Maor, and Dan Bouhnik. "The Emergence of Music Streaming Applications and Its Effect on Changes in Personal Information Management and Privacy Related Issues [Abstract]." In InSITE 2020: Informing Science + IT Education Conferences: Online. Informing Science Institute, 2020. http://dx.doi.org/10.28945/4523.

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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In addition, we explore the extent of user privacy concern in using music streaming applications. Background: This paper represents the second phase of the article titled Usage Habits in Music Streaming Applications and their Influence on Privacy Related Issues [Research in Progress] (Weinberger & Bouhnik, 2019). Methodology: The research is conducted using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage is a pilot which includes semi-structured interviews with three music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g., changes in classification and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 192 users of music streaming applications (Male – 72.9%, Female – 27.1%; Age: 18-58), aiming to explore personal information management issues and privacy related issues that emerge while using these applications. Contribution: As far as we know, this is the first academic research to investigate the issue of personal information management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications. Findings: We found major changes between personal musical information management in the past and in the present. As most of the participants (85.4%) prefer nowadays to sort musical items in playlists or not to sort them at all. Out of the participants who chose to sort in folders in the past, only 42.7% still do it at present and out of the participants who chose to sort by alphabetical order in the past, only 15.7% do it at present. Also, we found that the participants have medium sense of ownership over the songs being stored on their streaming applications (M=2.78, SD=1.46) and medium sense that those applications may be used as social activity (M=2.75, SD=1.25). Interestingly, the choice of "sophisticated" genres (e.g. Blues, Jazz or Classical) as favorite music genre predicts the perception of using music streaming applications as part of social activity (R2=0.044, p<0.05). As for privacy concern, it was found that although the participants are moderately concerned about privacy within music streaming applications (M=2.67, SD=1.15), they are willing to pay for higher privacy protection services if they will be offered to them (r=0.49, p<0.001). In general, participants were found to be moderately willing to pay for premium services (M=2.44, SD=1.01), with ad-free service (M=3.07, SD=1.54) being the highest ranked premium service. Impact on Society: The research may drive music streaming applications operators to offer premium services that provide various benefits, such as: ad-free usage, higher privacy protection or better social features, as participants are willing to pay for those features. They may also personalize their users by preferred music genres, to adapt the specific service being offered to them.

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W. L. Fong, Michelle. "Music in Cyberspace." In InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2831.

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The music scene in cyberspace is an example of how a legal framework has been developed to curb online copyright infringement. The emergence, in the mid-1990’s, of online music websites and software programs such as MP3 technology to compress and download music, have delivered considerable copyright threat to the music industry. This threat has been further exacerbated by the remarkable development of technological innovations, such as high-speed broadband Internet connection and affordable CD burners, which are capable of delivering fast download and reasonably good audio and visual quality. This emerging information technology has made reproducing and sharing the work of others extremely easy, and has caused great concern for the music industry. This paper traces the evolution of the digital music scene in cyberspace and describes the attempts of the US and Australian music trade groups in putting an end to music piracy in cyberspace.

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"Usage Habits in Music Streaming Applications and Their Influence on Privacy Related Issues [Research in Progress]." In InSITE 2019: Informing Science + IT Education Conferences: Jerusalem. Informing Science Institute, 2019. http://dx.doi.org/10.28945/4272.

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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In a later stage, we intend to test privacy related issues in music streaming applications and the factors that influence privacy concerns when using these services. Methodology: This is examined by using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage includes semi-structured interviews with 10 music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g. change in classification methods and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 200-250 users of music streaming applications, aiming to explore personal information management issues and privacy related issues that emerge while using these applications (e.g. privacy concerns). Currently, a pilot of the qualitative stage was issued. Findings: We found that users still rely on traditional methods of personal information management, rather than making use of the newer features available by the innovative music streaming applications. The same applies to the use of these applications as part of a social activity. In addition, it seems that the emergence of music streaming applications influenced the sense of ownership over songs in personal music libraries and made it ambiguous among music consumers. Contribution: As far as we know, this is the first academic research to investigate the issue of personal music management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications.

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Michalec, Lukasz, and David A Banks. "Information Systems Development Methodologies and all that Jazz." In InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2805.

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This paper explores the relationships between jazz and the development of information systems. Similarities are drawn between music in general and information systems development methodologies and jazz is taken as a specific focus. The idea of music as an information system in its own right is outlined. As systems development methodologies move from formal approaches towards more ad hoc forms, the lessons that can be learned from jazz, such as improvisation and shared meaning, may become increasingly useful.

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Bialaszewski, Dennis, and Marsha Bialaszewski. "Ethics and Education: Curriculum Issues." In InSITE 2005: Informing Science + IT Education Conference. Informing Science Institute, 2005. http://dx.doi.org/10.28945/2882.

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Ethical considerations are a very important aspect for each one of us. However, faculty typically are often so concerned with covering all content associated within course structure they may not have sufficient time for class discussion regarding ethical considerations relevant for one’s discipline. This is sometimes addressed by designing a specific course with a specific purpose being ethical considerations. For example one may see the existence of a “Business Ethics” course as a requirement for a business major. One of authors of this paper has designed an “Ethics and Information Systems” course offered as an elective in the MIS major. Issues such as downloading music without paying, ergonomic issues, issues of copyright, privacy issues, et cetera are covered through case studies. There is an examination of codes existing at the Midwestern university to cover ethical considerations related to computing. It is interesting to note that currently a student from this same Midwestern university is being sued for his file sharing practices.

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Kurtz, Gila, and Yehuda Peled. "Digital Learning Literacies – A Validation Study." In InSITE 2016: Informing Science + IT Education Conferences: Lithuania. Informing Science Institute, 2016. http://dx.doi.org/10.28945/3480.

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[The final form of this paper was published in the journal Issues in Informing Science and Information Technology.] This paper presents a validation research of seven Digital Learning Domains (DLDs) and sixty-five performance statements (PSs) as perceived by students with experience in learning via ICT. The preliminary findings suggest a statistical firmness of the inventory. The seven DLDs identified are Social Responsibility, Team-based Learning, Information Research and Retrieval, Information Management, Information Validation, Processing and Presentation of Information, and Digital Integrity. The 65 PSs will enable a teacher to identify the level of competency the learner has in each DLD, thus identifying students’ strengths and weaknesses that must be addressed in order to facilitate learning in the current era. As can be concluded from the findings, most of the participants evaluate themselves as digitally literate with regard to the basic information research and retrieval skills, validation and information management. But when it comes to PSs that require complex decision making or higher order thinking strategies, it seems that a large number of participants lack these skills. Also, social responsibility and digital integrity domains are perceived as known by the participants but not very well taken in terms of pro-active action to enforce appropriate digital behavior, or avoiding illegally obtained music or movies.

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Ikeda, Shobu, Kenta Oku, and Kyoji Kawagoe. "Music Playlist Recommendation Using Acoustic-Feature Transition Inside the Songs." In the 15th International Conference. New York, New York, USA: ACM Press, 2017. http://dx.doi.org/10.1145/3151848.3151880.

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Varga, Tibor, Gábor L. Szepesi, and Zoltán Siménfalvi. "Flow Characteristic and Pressure Drop Inside the Horizontal Scraped Surface Heat Exchanger." In MultiScience - XXX. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2016. http://dx.doi.org/10.26649/musci.2016.106.

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Varga, Árpád. "Application of Two Component Hot-Wire Anemometry Technique for Flow Measurement Inside Street Canyons." In MultiScience - XXX. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2016. http://dx.doi.org/10.26649/musci.2016.095.

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Mansour, Hossein, Alireza Kasaiezadeh, Siamak Arzanpour, and Mehdi Behzad. "Finite Element Modeling of Setar, a Stringed Musical Instrument." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-13015.

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This paper introduces a finite element model of Setar, a Persian long-necked lute. Setar is modeled as a transfer function between the imposed force on the bridge and the near-field resulted sound. Numerical modeling of stringed musical instruments is a computationally challenging task which has always been done with extreme simplifications. Phenomena such as fluid-structure interaction, composite structure, preload effect and infinite boundary are considered in this model. The cycle of Software used in here is CATIA, HyperMesh, Nastran, and HyperGraph. The frequency response between the force of string and generated sound in near field are obtained, taking into account the fluid inside and outside of the soundbox. This model is useful to predict the effect of modification in specific parts to the sound generated by the instrument. The numerical results have excellent agreement with the experimental ones. The modeling procedure can be extended to other musical instruments as well as less complicated problems such as passenger compartment of vehicles.

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